2017 repress; LP version. Pressed on black 180-gram vinyl and housed in a gatefold sleeve. Born in Berlin in early 2014 and nurtured over the following summer, I Declare Nothing is the spine-tingling collaboration between Tess Parks and Anton Newcombe (The Brian Jonestown Massacre), co-written and co-played by the duo and released to coincide with their 2015 European tour, following their Record Store Day 2015 Cocaine Cat single (AUK 118EP). A native of Toronto, Tess Parks moved to London, England, at the age of 17, where she briefly studied photography before deciding to focus on music. Parks made an impression on industry legend Alan McGee, founder of Creation Records, though the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Parks was due to move back to Toronto. After moving back to her hometown in 2012, Parks formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his label 359 Music. Parks became one of his first signings and released her debut record, Blood Hot, in November 2013 to excellent reviews. One reviewer described her as "Patti Smith on Quaaludes." Others have mentioned her "gauzy psychedelic sound" and "smouldering voice." Alan McGee himself said, "She's only 24 and is already an amazing songwriter... she just doesn't quite know she is yet -- her most beautiful quality is her lack of ego. Tess is an amazing lady." Anton Newcombe is the leader of The Brian Jonestown Massacre, who returned in May 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), to critical acclaim, and released Musique de film imaginé (AUK 032CD/LP) in 2015. The band's first album to be fully recorded and produced at Newcombe's recording studio in Berlin, it was supported by a successful European tour. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock 'n' roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Through two dozen band members and numerous "ups and downs" (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe.

Alex Lipinski's caressing sympathy, full-throated resentment, and the raw rockabilly excitement of earliest Elvis have grabbed unwary listeners from the West Country to Krakow, Berlin and New York, since he first left Somerset to become a crucial habitué of Soho's legendary, lost 12-Bar Club. He has followed in the footsteps of his hero Dylan to write in the Chelsea Hotel, and sung Elvis songs in the home of an admiring Liam Gallagher, who responded with a roaring "Acquiesce". With older brother and fellow musician Adam Lipinski by his side at Newcombe's residential studio in Berlin, Alex basically took six hours. "Anton put a lot of time and energy in. I recorded with an old guitar, because he wanted to capture the effortless, timeless '60s records that he had in his mind. We had initially planned to be in the studio for three or four nights. The first evening we rattled though the songs, a take or two of each and in those six hours everything clicked. By midnight we were done. We ended the evening by going to a great bar called 8mm. Anton set up a gig there the following night and played old folk records, then we played a live set. We added small overdubs on the record later. But the album captures the character of the songs live with no frills. The slight imperfections add to the feel. Anton taught me about perfect mistakes." Lipinski's life has been one of wanderlust. His sister lived in Krakow for many years, where Lipinski visited regularly, and "felt right at home". "The Jewish Quarter where King Jan Olbracht put the Jews to live, before their liquidization in the war, is very haunted. Candlelit bars, dimly lit, with jazz music and Jewish music playing, in buildings that are really old." Moving to London, he wandered down "the street where the Kinks and Stones used to rehearse, bars where Lennon and McCartney used to drink, and Dylan played." Winning the MBF Songwriting award in 2008 helped him tour New York state and Pennsylvania, trailing yet more rock ghosts as he explored Harlem, and stayed at the Chelsea Hotel. He's currently back in Weston, Bristol's bohemia gives him city life, alongside regular trips to Brooklyn, and Manchester.

Manhattan to Berlin: Dave Sumner, better known as Function, had found a new path in techno, and as he obsessively talked about the British Murder Boys and the work of Mika Vainio, he focused in on his latest influence: Sleeparchive. Elements of Plastikman's take on jacking raw rhythms collided with Sähkö bleeps for a powerful post-Jeff Mills form of techno. After a laptop, Battleship-like session in Berlin with Dave and Karl O'Connor, better known as Regis, Dave decided to move to "techno Mecca". He returned to NYC to get ready, and three months later, on the day he moved to Berlin, his record was released as Isolation on Sandwell District and was named DJ Magazine's 12 Inch of the Month. He then set up his studio in the warehouse of Tony Vieira. Sandwell District: Sandwell District is a literal place -- the Black Country -- where the industrial revolution began. It's one of the many Dadaesque references in the Integrale catalog. The whole thing has this major punk DIY spirit. Sandwell District quickly evolved from a label into a music project with a distinctly egoless and mysterious approach. They functioned around the motto of "Decentralizing the artist ego, blurring the lines between the artist, label and DJ; re-arranging the DNA of modern dance music." The first record on Sandwell was by Regis, followed by records from Juan Mendez as Silent Servant and Dave as Function; soon they would all release collectively. Sandwell District was a more mature response, the second stage of a career with the disparate influences absorbed, digested, and slowed down, yet somehow more emotional. Later, Rrose would become an integral part of Sandwell, right before they broke up at the height of their popularity, in the spirit of their heroes Big Black. Dave then went on to record his debut solo album Incubation for Ostgut Ton (OSTGUT 024CD/OSTGUT 012LP, 2013) and revived Infrastructure. The Next Phase: Sometimes the only way forward is to look backwards. Those who cannot remember the past are condemned to repeat it, as the saying goes. Recompiled I/II (ATON 002LP) and II/II is an attempt to understand what has happened and to liberate the artist from the burden of their own oeuvre. Moving forward, Function is still connecting the dots with his DJing around the globe, with residencies at Berghain in Berlin and Bassani in Tbilisi, Georgia.

New Parisian imprint Abîme launch their catalogue with Lettre d'Amort, an EP by French producer Chams. A deeply personal collection of songs born out of a teenage, transcendental experience. Growing up surrounded by the Alps, he always felt like those high mountains looming over him. On the one hand, Chams employs bright and minimal sonics and upbeat melodies that have something of a childhood naivety to them. On the other hand, these sounds compete with darker impulses which refuse to give over to optimism. Nowhere is this more evident than on "Ultraviolence", where agonized screams compete with a beautiful synth.

Acid Test continues their journey with the return of Achterbahn D'Amour. On their first proper release in three years, Jool and Iron Curtis patiently craft an intricate sound world -- with the opening track, major-key pads hearken towards a bright future, hi-hats rustle like leaves and on "Dehaveland", percussive elements fall into beautiful, random unison. Samuel Van Dijk's vaunted VC-118A project steps up for a remix, turning in a taut techno version that unfurls smoke pillars of ghostly ambience. The duo wraps up with an unexpected dreamy electro turn, "Don't Talk To Me".

Etta James live at the Chicago Blues Festival, Grant Park on June 7th, 1985. Etta James needs no introduction to lovers of soul, blues, and R&B. Her long career began way back in the 1950s, and she was a legend by the age of 21. Thereafter she experimented with funk and rock, and toured with the Rolling Stones in 1978, but sank into drug addiction and alcoholism. Originally broadcast on WXRT-FM, this superb set captures her on terrific form, performing a selection of her best-loved songs in front of a delighted crowd. The entire original broadcast is presented here, professionally re-mastered, together with background liner notes and rare archival photos.

LP version. Etta James live at the Chicago Blues Festival, Grant Park on June 7th, 1985. Etta James needs no introduction to lovers of soul, blues, and R&B. Her long career began way back in the 1950s, and she was a legend by the age of 21. Thereafter she experimented with funk and rock, and toured with the Rolling Stones in 1978, but sank into drug addiction and alcoholism. Originally broadcast on WXRT-FM, this superb set captures her on terrific form, performing a selection of her best-loved songs in front of a delighted crowd. The entire original broadcast is presented here, professionally re-mastered, together with background liner notes and rare archival photos.

Double LP version. Includes printed inner sleeves; Etching on side D; Includes download code. "I want to fall in and out of the cracks of genres, finding the nerves not yet hit. It's usually in the disturbing part of the spectrum..." So says Joe Haege, who's earned a reputation for unsettling sounds with 31 Knots and Tu Fawning. He was also a member of Menomena and The Dodos. Haege formed White Wine (known earlier as Vin Blanc) as a solo project, but it developed into an informal duo following the release of their second album, 2013's In Every Way But One, after Haege invited Fritz Brückner (Tu Fawning, Menomena) on his European tour. When an apartment fell vacant next to Brückner's home in Leipzig, Haege deserted Los Angeles, and, newly settled in Eastern Germany, added Chistian "Kirmes" Kuhr (Zentral Heizung Des Todes) to the coven while helping to build what would become White Wine's default home and fully functioning studio, Haunted Haus. This new line-up finds Haege delivering the most realized, intense and, at times, horrifying music of his career. The product of 18 months spent touring together, Killer Brilliance emerged, he says, from the trio's need "to get something dark and sinister out of our systems", and this is reflected, too, in the album's title. This sordid realization is mirrored in Killer Brilliance's disturbing, sometimes even distressing songs. Brückner's effects-heavy bassoon gives the record a macabre depth, while Kühr's aggressive drumming and percussion, firmly upfront in the mix, drives songs relentlessly to their ultimate demise. Haege, moreover, displays the urgent, menacing air of a preacher man delivering sermons about an imminent apocalypse. Punctuated by contrastingly feminine, spoken-word vignettes that add to the uneasy cinematic mood -- one that draws upon dystopic visions to '60s style film noir -- Killer Brilliance piles in with the rabid "Broken Letter Hour" and the desperately tense "Hurry Home", before the extraordinary title track pops eardrums and eyeballs. There's also the Birthday Party malevolence of "Falling From The Same Place", the growing threat of "Abundance", the baroque, carnivalesque "I'd Run", and the deceptive calm of "Bird In Hand". Musically, White Wine feed upon a diverse range of ingredients, including PJ Harvey, Liars, Beak, Suicide, Minutemen, David Bowie, Chuck D, and Diamanda Galás. Lyrically, Killer Brilliance exhibits Haege's self-confessed "weird affinity for double entendres" and "need to hold onto the sheer madness of existence."

Dominik might be known as a resident DJ of the Club Schwarzes Schaf in his hometown Augsburg. Over the past few years, Dominik has released music on labels like Pastamusik, Suol, Liebe Detail, and O*Rs. He is also part of Yandom (with Yannick Labbé). Dominik's productions are influenced by various kinds of music: techno, house, disco, or electronica -- a mixture you can hear on his recent Tryads EP. A sound already loved and played by the likes of Sbth, Barnt, Marvin & Guy, Aera, and many more. Aera provides an edit of "Tears".

Various creatures of the native flora and fauna are interpreted on Dominik Eulberg's label Apus Apus. The music pieces are thoughtfully presented with two tracks per EP. His first EP features the track "Bienenfresser" ("bee-eater") and "Blauracke" ("blue roller"). "Bienenfresser" oscillates from one color into another without losing its significant habitus. It is a musical journey through the color scheme of the bee-eater -- a collective, mobilizing anthem. The magnificent turquoise blue plumage of the blue roller are translated into worlds of sound on "Blauracke". Sparkling melodies intertwine gracefully along musical chains, and create a constant redefinition of the theme.

Aras welcome Sascha Dive with his trippy dark tech house track "Child Of Sorrow" to the label. Dive released a vast amount of productions and remixes on high class labels such as Cocoon Recordings, Tsuba, Freebase, Deep Labs, Raum Musik, or Stir15. Aras label head André Galluzzi has been a vinyl DJ for 25 years. "Bambo" is a mysterious club tool with a breeze of darkness. This signature tune stands for open minded sound as Galluzzi always does.

Blue vinyl version. "Released as a vinyl-only album on Sterile Records in 1986, Controlled Bleeding's Headcrack is a monumental album of industrial-noise meets ambient soundscapes. The original record is hopelessly out of print, and Toronto-based Artoffact Records reissues it with remastered audio and updated cover art for the first time. Essential listening!"

"Released as a vinyl-only album on Sterile Records in 1986, Controlled Bleeding's Headcrack is a monumental album of industrial-noise meets ambient soundscapes. The original record is hopelessly out of print, and Toronto-based Artoffact Records reissues it with remastered audio and updated cover art for the first time. Essential listening!"

Willem Bijleveld, aka Axefield, is the man behind the 49th Atomnation release. The Dutch musician -- that produced a melancholic, dusty, and clubby four-track 12" -- is also the co-owner of the mysterious imprint Who's Susan.

Berlin native Florian Kruse, a key part of the underground house and tech house scene, finds a kindred spirit in German vocalist Hendrik Burkhard. As TheGround, the pair have crafted a killer new forthcoming album, Dediction. "Homeless Hearts" exemplifies the duo's effect on each other; the slick, nuanced, and space-y production gives way to a powerful groove. "Undercover" is a dancefloor killer, with Kruse's exceptional flair for programming meeting Burkhard's understated delivery. Co-written by Raphael Hofmann, "Silence" explores some melancholic terrain before finding its way back to the floor. "Creature" features a thick growling bass and precise, arpeggiated synth lines.

The world of Mireille Capelle is one of music and theater. She has performed as a singer in numerous European opera houses, under the artistic direction of the foremost stage directors and conductors. Mireille Capelle is singing professor at the Ghent School of Arts and member of the artistic board of HERMESensemble. She has a particular affinity with contemporary music and art, characterized by many encounters with the most important contemporary composers. Do'un is an "architecture sonore" ("sonic architecture") composed for the exhibition INTUITION (2017) curated by Axel Vervoordt and Daniela Ferretti in Venice. Mireilles sound scapings are electronic sculptures to be performed as a live format. Do'un was presented as a live installation by Mireille Capelle and HERMESensemble with visual artist Angel Vergara at Palazzo Fortuny in May 2017. Inspiration for Do'un comes from the philosophy of the Greek philosopher Democritus and his ideas about cosmology and the void. Do'un is a one-hour piece characterized by rich sonic layers embedded in a drone-y atmosphere. A very intuitive piece. Mireille Capelle in her words about the piece: "Even though when I talk about it, I find that intuition is closer to mind than instinct, the sound architecture Do'un, created for Intuition, seems to prove the opposite. This piece is very sensory. . . . Sound needs the sensitivity of the physical body to receive intuitive auditory information. As if listening to the invisible is really a human act, a human need. Something that is within us and that we inevitably seek, either consciously or unconsciously. The rhythm that is often used for the communication of ancient peoples with the invisible universe, and that goes against our rationality, is present in the installation." Mireille Capelle appeared in various films and plays, as in an impressive number of operatic roles -- including Wagnerian parts such as Eva and Kundry, or Salome and Der Komponist (Richard Straus) and a slew of French characters. In parallel she developed a large concert repertoire including main sacred and secular works from early baroque to contemporary music. She manages to combine most intimate singing as a classical recitalist and opera singer with pioneering all-round "performances" as a vocalist, composer, and soundscaper. Furthermore she is linked to the HERMESensemble as a member of the artistic committee and performer. Design by Jeroen Wille. Mastered by Jack Allett. Three-panel digipak.

Aus Music welcome Allen Wooton, aka Deadboy, for his debut release on the label with Auogeides 77. Wooton's bold, rugged club music has really reached its zenith in recent years following key releases on Local Action (LOC 011CD/LP, 2017) and Numbers, Auogeides 77 is no different. Rough analog drums, broody melodies, and a smidgen of his famous UK flavor.

"Two versions of Ric Cartey's first recorded composition topped the pop hit parade in early 1957. Ric's own rendition of 'Young Love', which he'd written with fellow teenager Carole Joyner, wasn't one of them. The honors went instead to country singer Sonny James and neophyte pop crooner Tab Hunter. That didn't stop Cartey from subsequently cutting enough solid rockers for RCA Victor, NRC, and his own El Rico label to fill this 10-incher. Cartey was one of the first young singers on Atlanta's rock and roll scene. Born there on January 18, 1937, Whaley Thomas Cartey found a kindred musical spirit in guitarist Charlie Broome, the two performing locally as a duo. Broome dreamed up the distinctive guitar introduction to Young Love. Ric and Charlie's band, The Jiva-Tones (as their name was spelled on the record label) cut 'Young Love' in 1956. On the other side sat the blistering rocker 'Oooh-Eeee'. Jerry Reed was playing the electric guitar here. RCA acquired Ric's original for national consumption. Jerry Reed wrote the highly animated 'I Wancha To Know' as one side of Cartey's encore, returning to supply dazzling acoustic lead guitar. Then RCA sent Cartey to Nashville in March of '57 to work with producer Chet Atkins (Reed remained his lead guitarist, sharing fret duties with Jack Eubanks). Later on, Cartey gravitated over to the recently established NRC label in 1958 to wax 'Scratching On My Screen', a romping variation on Washboard Sam's 1939 blues 'Diggin' My Potatoes' for Bluebird Records. Ric seems to have been a Chicago blues fan. He later revisited Mellow Down Easy on his own El Rico label with more of an R&B feel, issuing it under the concise alias of Rex (no last name). Although 'Young Love' was Cartey's calling card for the rest of his life (he died August 5, 2009 in his adopted hometown of Palm Harbor, Florida), he left us a legacy filled with rollicking rockabilly."

Because Music present the first reissue of Pascal Comelade's Paralelo, originally released in 1980. This first reissue identically features all the elements of the original version: the black and white sleeve with its painting made by Don Jacques Ciccolini, and all musical features popularized by Pascal Comelade (repetitive music, the concept of sequences, and continuous sound). Auto-produced on his own label Parasite, Comelade mainly uses one instrument for all parts of the album: an EMS/AKS synthesizer. Recorded on K7 and 2-track tape recorder Revox A77, Paralelo is the most representative album from Pascal Comelade's electronic times (1974/1981). A part from "Beyrouth 66", "Musique Ridicule", and "Erratum Musical", the album features a vocal loop (from English composer Gavin Bryars). This reissue comes as double-LP; the original version gets extended with the second vinyl. On the C side: "Séquences Païennes" are extracted from 1978 recording sessions, partially released on a 7" in 1979 and fully reissued in the six-CD boxset Rocanrolorama in 2016; On the D side: "15 Minutes de Sonoto-Luddisme", originally entitled "Musique par Correspondance" was recorded between Montpellier and London (1978-1981) with David Cunningham (member of the Flying Lizards and producer for Michael Nyman and This Heat). This musical track gets extended on more than 15 minutes that engrave the meeting between the two musicians. Gatefold sleeve; Includes CD.

2017 repress. Metronomy present their third album The English Riviera. The follow up to 2008's critically-acclaimed Nights Out, The English Riviera is a sonic progression of epic proportions and affirms Metronomy front man and producer, Joseph Mount, as a rare British talent. Since Nights Out, the band have swollen to a four-piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks. Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalized vision of The English Riviera, the tone for the album is set by the opening sounds of seagulls, distant waves and a Music Hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of "We Broke Free" shudders and ushers in waves of layered guitars and synths. Having produced and remixed everyone from Roots Manuva to Kate Nash an album from Nicola Roberts, this is the first Metronomy album that Mount has taken out of his bedroom and recorded in a proper studio. The results are telling. Characterized throughout with a sense of warmth and richness, The English Riviera is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount's studio wizardry, the record sounds vibrant and entirely of its time. Few other albums will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.

Limited repress. Black Truffle presents a new issue of Annea Lockwood's classic 1970 tape piece "Tiger Balm", unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice. "Created while Lockwood was living in the UK, the side-long 'Tiger Balm' is a singular work within the canon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern. The B side presents two pieces for percussion recorded here for the first time. 'Amazonia Dreaming' (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures. 'Immersion' (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams, and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds" --Francis Plagne. Comes in a deluxe gatefold sleeve with archival pictures and liner notes by Annea Lockwood; Includes the score to "Amazonia Dreaming"; LP design by Stephen O'Malley; Mastered and cut by Rashad Becker at Dubplates & Mastering.

Black Truffle presents the eighth full-length release from the trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi. Over the course of four LP sides, the October 2014 concert documented here ranges from rock power trio dynamics to maelstroms of analog electronics. Once again, the three demonstrate their commitment to pushing into new areas of instrumental exploration and group interaction. Where their previous releases featured extended vocal workouts from Haino, his vocalizations here are restricted to the occasional impassioned cry, putting the focus squarely on instrumental interplay. More than ever before, this feels like the work of three equals, with O'Rourke or Ambarchi taking the lead role as often as Haino does. The four pieces presented here each focus on extended development. The first side is propelled by Ambarchi's busy, Jack DeJohnette-esque cymbal and tom work, which provides a skittering yet insistent pulse over which Haino and O'Rourke's FX-saturated strings rise and fall, momentarily converging for passages of near stasis before wandering through areas of gently sour discord; O'Rourke's use of a six-string bass here boosts the harmonic density of the music and often makes his contribution difficult to distinguish from Haino's guitar. On the second side, O'Rourke uses his pedals to make his bass near unrecognizable, generating a squelching, harmonically unstable riff that Ambarchi accompanies with a semi-martial snare pattern. Haino moves between frenetic octave-doubled fuzz riffing and streams of feedback. The third side is the most abstract; Continuing Haino's explorations of new instruments, the side opens with a long passage of toy piano. Alongside occasional vocal interjections from Haino (singing in English), Ambarchi creates delicate textures on cymbals and metallic percussion while O'Rourke, for the first time in this group, performs on the EMS Synthi. With Haino joining in with his own electronics, the side eventually builds to a chaotic climax. Beginning with a sequence of "fourth world" drums and flute, the final side unfolds an epic build-up over a hypnotic foundation of pounding toms. Moving from flute to vocals to electronics, Haino eventually picks up the guitar in the second half of the piece, igniting a spectral blur over driving rhythms from bass and drums that eventually builds to a frenzied climax. Cover image by Traianos Pakioufakis; Live action pics by Mike Kubeck. LP design by Stephen O'Malley; Gatefold sleeve. Mastered and cut by Rashad Becker at Dubplates & Mastering.

LP version. Nothing hurts harder than a surprise ending, and the title track of this album has a real face-slap of one. One minute you're in bliss, carried away in a crescendo of spine-tingling post-rock guitars and soft, wordless "oohs", the next you're through -- the song's out the door, down the street, pulling away from the curb and into a new life. That the overall tone of Jolly New Songs is so anthemic and -- for Trupa Trupa -- uncharacteristically triumphant, only makes having the rug pulled out from under you like this seem so much more cruel, so much more funny. Perhaps the harder the fall is, the more you have to laugh. Gdansk-based post-punk-psych band Trupa Trupa are sodden in a particularly cryptic kind of gallows humor. This isn't just down to some glitch in translation -- it could be in part due to the band's art-rock origins and because their singer and guitarist, Grzegorz Kwiatkowski is an award-winning poet in Poland. And then there's the fact that the band's name roughly translates to "Corpse Corpse". This is The Beatles in a universe where their most famous song was "Tomorrow Never Knows"; a Pink Floyd that split when Syd Barrett's mind did. There is no "Wonderwall" here. Instead there's "Coffin", a uniquely morbid love song that comes in the form of a seriously ear-wormy pop ditty. You can dance to this album -- check out the to-die-for funk groove that propels the Can-like "Falling". You can trip out to it -- check out the psychedelic meltdown that mutates the Wurlitzer fairground music of "Only Good Weather" into something dark and psyche-scarring. Sometimes it sounds like the end of the world (the bleak roar of "Mist"), but sometimes it sounds like the start of a new one (the unashamedly gorgeous "To Me"). The Quietus declared Trupa Trupa's acclaimed 2015 album, Headache (IDA 125CD/LP, XRAY 017CD), to be "their first moment of true greatness. This is incredible work," and suggested that these musicians were on the cusp of a Dog Man Star (1994) or Daydream Nation (1988) -- something genuinely era-defining. Jolly New Songs is that album and it does not disappoint.

After 11 years of production and releasing of records, here comes DJ Sling's first solo release. All tracks made in a manic foggy darkness during the first weeks of psychosomatic treatment. Melancholic, life-saving, house-hits!

"One of the most influential figures in the 1960s British folk scene, Davy Graham inspired many practitioners of the fingerstyle acoustic guitar of the era, notably Bert Jansch, John Martyn and Jimmy Page. Graham is probably best known for his acoustic instrumental 'Anji' and for popularizing DADGAD tuning, later widely adopted by many acoustic guitarists. Not one to be categorised, Graham could be seen covering the genres of folk, blues and jazz. Graham was an entirely British phenomenon in the sixties, none of his early records were originally issued in the U.S. Originally released in January 1965, this edition of Folk, Blues & Beyond is its official, American debut. It remains perfectly named, a stunning introduction to the breadth of Graham's craft and seeking at the peak of his impact."

LP version. "One of the most influential figures in the 1960s British folk scene, Davy Graham inspired many practitioners of the fingerstyle acoustic guitar of the era, notably Bert Jansch, John Martyn and Jimmy Page. Graham is probably best known for his acoustic instrumental 'Anji' and for popularizing DADGAD tuning, later widely adopted by many acoustic guitarists. Not one to be categorised, Graham could be seen covering the genres of folk, blues and jazz. Graham was an entirely British phenomenon in the sixties, none of his early records were originally issued in the U.S. Originally released in January 1965, this edition of Folk, Blues & Beyond is its official, American debut. It remains perfectly named, a stunning introduction to the breadth of Graham's craft and seeking at the peak of his impact."

"Large As Life And Twice As Natural is unique in Graham's work for Decca. The album's three extended instrumentals two immersive ragas and a wickedly knotty homage to the be-bop piano titan Lennie Tristano were the most Graham wrote for any of his Sixties LPs. And Graham never played with a better, bigger studio band. Jon Hiseman, recently out of John Mayall's Bluesbreakers, was leading his own progressive-rock unit Colosseum; Danny Thompson was the earthy, incisive bassist in Britain's folk supergroup, Pentangle, with guitarists and Graham acolytes Bert Jansch and John Renbourn. Large As Life And Twice As Natural was Graham's only album from his most important decade to be released in the U.S., which at the time went unnoticed."

Reissue of the last studio album by Cluster, the legendary krautronic duo of Dieter Moebius and Hans-Joachim Roedelius, recorded in Ohio in 2009 by Tim Story. From Story's liner notes: "My role, as I imagined it, was to emulate Conny Plank, the great Cluster producer and a hero I'd never had a chance to meet. An impossible burden of course, so I simply tried to make the recording process as invisible as possible, offer as many interesting sonic options as I could, and give Cluster the chance to be Cluster -- to express that deep and unique dialog that only Moebi and Achim fully understand. Moebi had brought along some of his wonderfully quirky loops, but the rest was simply an embrace of the technology and toys that they found in the studio. Old drum machines, a gaudy orange Farfisa (solos on which Achim would always seem to center around the one temperamentally unreliable note), cutting edge keyboards and processors, a cheap Yamaha Omnichord. The results were, to my ears at least, stunning. Seventeen miniature worlds, some icy, some warm, all infused with that Cluster elusiveness and unpredictability. Playful, dark, funny, human, Qua captures that deceptive Cluster heartbeat -- unmistakably modern but utterly timeless. Adorned later with Moebi's slyly nonsensical titles ('Putoil' for example, which features a 'solo' made from Moebi's recording of our squeaky bathroom door), and his cheerfully Dada cover, Qua's evolution was a true privilege to witness. Achim told me recently that he considers Qua the perfect swansong for Cluster. At the time, though, the album's freshness and open-ended creativity seemed like simply another alluring dispatch from a conversation that would pick up again many more times, as it had for four decades. But Moebi's passing in 2015 gives Qua a finality that contradicts the music's transitory, slippery otherworldliness. The album's closing track 'Imtrerion,' with Moebi's deeply stirring loop embellished ever so gracefully with Achim's spare accompaniment, never fails to choke me up."

The first live recording of Cluster (Dieter Moebius and Hans-Joachim Roedelius), and their only collaboration with Austrian musician Joshi Farnbauer (drums and percussion), recorded in Vienna in 1980. A sonic throwback to their early years, reissued on CD. Were one to be presented with two separate stacks of Cluster recordings -- one composed of their studio work, the other of live performances -- an innocent listener might conclude they are the efforts of two completely different artists. This would understandably have been the case in 1980, when the structured, tuneful miniatures of 1979's Grosses Wasser (BB 026CD/LP) and 1981's Curiosum (BB 038CD/LP) were unlikely bookends to the sprawling electroacoustic abstractions of Live in Vienna. But as fans of the idiosyncratic duo already knew, Cluster's trajectory was always a restless one -- more about disruption than gentle evolution. As Live in Vienna's sound engineer, Eric Spitzer-Marlyn, recalls, Cluster's 1980 performance at the Wiener Festwochen Alternativ would have been called a "happening" in an earlier time. Growing out of the Actionism movement of the '60s, the festival was more performance art than music concert. Disdainful of the tired, commodified art of the establishment, it was a sound marked by brash, improvised, avant-garde techniques. Spitzer-Marlyn also recalls that it was loud. For those who had grown up with Cluster's accessible '70s work with Eno and Plank, and their collaboration with Michael Rother in Harmonia, Live in Vienna's slow-growing swaths of electronics and noise must have represented a bit of a shock. But it was really more of a throwback to Cluster's earliest years, when they performed dense electronic "jams" with Conrad Schnitzler as Kluster. The addition in Vienna of Joshi Farnbauer, a friend and fellow artist who played percussion and explored the sound possibilities of his own sculptures, also mirrored the fluid and spontaneous configurations that characterized those times. As chance would have it, they never met up with Farnbauer again.

LP version. Bureau B present a reissue of Vono's debut album Dinner Für 2, originally released in 1982. Among the lesser known dark-electro/post-punk bands of the early 1980s, the Berlin duo Vono really stood out. The radical nature of their music, the cold sound and sparse lyrics -- Vono were arguably on a par with the more prominent ambassadors of the genres (Deutsch Amerikanische Freundschaft, Liaisons Dangereuses, etc.). Extreme even for the early eighties, their minimalism was constructed purely on synthesizers and heavy on bass. With lyrics to match, their debut album Dinner Für 2 was unique. Auspicious beginnings for Vono back in 1982 offered no warning that the name would later fade into relative obscurity. Two brothers, Norbert and Volker Schultze, founded the project in the late seventies. They generated a substantial following in the cooler clubs of Berlin, playing a huge number of notoriously loud gigs. It was their producer Stephan Kaske who pointed them in the direction of legendary German label Sky Records (home to seminal albums by Cluster, Brian Eno, Michael Rother, Conrad Schnitzler, Asmus Tietchens, etc.). Kaske had released records of his own on the label, under the name of Mythos. Sales of Vono's debut album vastly exceeded expectations, to the satisfaction of the musicians and the label. Nevertheless, the brothers chose to embellish the sound of their sophomore work with guitar and drums, moving closer towards rock music. Given its consistently minimalist ethos, Dinner Für 2 is surprisingly varied. Dark and danceable electro-pop dominates, but spherical sounds and gentler moments are also there to be found. The songs are, for the most part, built on a framework of just one or two recurring bass patterns or melodies, coupled with lyrics which are barked rather than sung and delivered with Teutonic rolled "R"s and exaggeratedly uttered final syllables. Some tracks have a rather Dadaistic flavor, featuring a single line like "Tief Im Dschungel Sitzt Ein Haifisch" (deep in the jungle, a shark lurks) or numbers shouted into the microphone, as on "Lottozahlen" (lottery numbers). An occasional instrumental track offers some light relief. What a shame that Vono did not stick to their radical concept. At least this gem of electronic music can now be presented to a wider audience.

Andreas Spechtl's debut album Thinking About Tomorrow, And How To Build It is a multifaceted work. It is personal -- Spechtl invites his listeners to look deep into the soul of his "I". It is rooted in history -- Spechtl constructs an emotional bridge to the cosmic music of Can and the aural sculptures of Conrad Schnitzler. It's also a modern and hybrid work -- Spechtl mines deep strata of sound and samples in his sonic quarry, layering them over a constant bass drum, capable of launching every DJ set into a new space and time continuum. Traditional Persian percussion and string instruments are sampled by Spechtl, rearranged and treated with contemporary beats, filters, and effects. Aural structures rise up in space, as complex as they are fascinating and disorientating. Nevertheless, even-tempered rhythms mark out a more familiar path approaching narratives in recent electronic music. Thinking About Tomorrow, And How To Build It was composed in Tehran, a metropolis of 12 million people and the capital of Iran, often portrayed in the western world as the "Heart of Darkness" or "The Land of Fear". In the winter of 2016/17, Andreas Spechtl spent two months here, during which time he played ten shows in his Tehran studio. Meanwhile, in his adopted home of Berlin, a terrorist attack took place at the Christmas market on Breitscheidplatz. In reflecting on the other, Spechtl reflects on himself; ruminating on Tehran turns his thoughts to Berlin, from his own to the unknown. A central motif in these ten new songs, the idea of not living in fear of the future, is articulated throughout. The citizens of Tehran understand that things can only get better. "I have always been enchanted by the beauty of language", explains Andreas Spechtl, who grew progressively quieter on "Africa Blvd" in the Persian winter. The less he spoke, the more music became his language, which is why his new album is predominantly instrumental. The future, so optimistically envisioned in so few words by Andreas Spechtl, is created through friction. Andreas Spechtl left behind the contemporary comforts of a frictionless Berlin for a place where language was elusive, yet the intrinsic friction energy of the place was tangible, transformable into hybrid, at times ambient music. Thinking About Tomorrow, And How To Build It is both document and witness, a grand, opulent field recording collated in ten diary entries.

Recently, Superpitcher was invited to go on a safari in South Africa. He bought a custom made safari hat at his favorite milliner in Cologne (Jürgen Eifler) and set off with big eyes and a pair of binoculars. It was wild and wonderful and he saw many exotic (and big!) animals, even a leopard in a tree that told him the secret of the universe. He forgot what the leopard said because his mind was still playing and replaying the sound of what he heard on the first night of his arrival -- the hypnotic and moving sound of the voices of Africa, the voices of the wonderful Tanda Tula Choir. There, the choir members work during the day at the camp and at night, they entertain the guests with their captivating voices and energetic dancing. He was so impressed with their songs and beautiful Shangaan language that he decided to record a CD for them to sell in the shop at their camp and now this precious recording is also available through Hippie Dance/Bush Recordings.

LP version. Includes download code and poster. Recently, Superpitcher was invited to go on a safari in South Africa. He bought a custom made safari hat at his favorite milliner in Cologne (Jürgen Eifler) and set off with big eyes and a pair of binoculars. It was wild and wonderful and he saw many exotic (and big!) animals, even a leopard in a tree that told him the secret of the universe. He forgot what the leopard said because his mind was still playing and replaying the sound of what he heard on the first night of his arrival -- the hypnotic and moving sound of the voices of Africa, the voices of the wonderful Tanda Tula Choir. There, the choir members work during the day at the camp and at night, they entertain the guests with their captivating voices and energetic dancing. He was so impressed with their songs and beautiful Shangaan language that he decided to record a CD for them to sell in the shop at their camp and now this precious recording is also available through Hippie Dance/Bush Recordings.

Shimza (Ashley Raphala) is one of South Africa's brightest young talents. "Congo Congo" is a dark ride over abysmal tom-tom drums, lively percussions, and a gloomy bass lead, ignited dramatically by wide synthetic stabs and chords. In the "Dub Mix", the drums and percussion become lighter. "Secret Melodies" starts with an obscure bass line, but the intense twist of fractioned rolls and arpeggios bring an ascending piano progression that quickly blooms into an uplifting symphony. "Selector" keeps the gaze on the dancefloor: hand clapping and a cloud of low frequencies bumps unexpectedly drag its hypnotic harmonies into a breath-taking drop.

Captain High Records present a reissue of Bill Plummer & The Cosmic Brotherhood, originally released in 1968. Long thought to be lost to only the most industrious of crate diggers, Bill Plummer's 1968 album Bill Plummer & The Cosmic Brotherhood makes its triumphant return on Captain High Records. Already an accomplished jazz bassist at the time of the album's release, Bill Plummer turned heads on The Cosmic Brotherhood with heavy Eastern and psychedelic influences that challenged contemporary ideas about jazz. Original compositions like "Journey To The East" and "Arc 294" are colored by striking sitar sounds, rhythmic chanting, and melodic improvisation, while Plummer lends his distinctive touch to songs by The Byrds ("Lady Friend") and Burt Bacharach ("The Look of Love"). The result is an album that reflects a musician at the peak of his creative powers, unafraid to explore new ideas and sounds that meld into a cohesive, spectacular album.

Captain High Records present a reissue of Eden Ahbez's Eden's Island, originally released in 1960. It is 1960, rock n' roll has just lost a couple of its protagonists during that year and the previous one, the time of the great balladeers has just begun but soon will run out due to the new and exciting beat invasion. In US mainstream, the tiki culture has reached a certain peak and is about to collapse but still goes strong and with it comes the so-called "exotica" music, a crossover between smooth jazz and swing, Latin grooves, haunting melodies rooted in folkloristic sounds from different parts of this world, plus weird sound effects that often create a spooky jungle or a dreamy island beach atmosphere. It can even bend your mind that far you would see palm trees growing out of your speakers and witness monkeys and parrots having fun in your room. Eden Ahbez, born in 1908, passed in 1995, a man living an even more consistent dropout and hippie lifestyle way before the movement was born in the mid-60s, a beat poet and composer who wrote the hit tune "Nature Boy" that gave Nat King Cole his first big success in 1947, approaches the field of exotica music from a different point of view creating an epic concept album about a utopian society living in peace and harmony on an island far away from the modern western world as we know it. And indeed, there are many trademarks of the prototypical exotica music, beginning with this relaxed groove combining easy listening swing and Latin patterns, peaceful, dreamy, and even transcendental vocal melodies, with tinges of folk music from around the world, including powerful dances and a whole color palette of mind-expanding sounds giving the whole music an even greater depth and width. The latter being created entirely with real instruments, such as Eden Ahbez's wood-flute. Some tunes are rather gentle and relaxed with the lyrics being narrated which adds much to the epic feel of the album. Since this is a really unique effort, it cannot really be compared to any other musical piece of the genre, but it is definitely recommended to exotic aficionados who, for example, love Frank Hunter's White Goddess album from 1959 (CH 4803CD). Psychedelic music before the term was even invented. Includes bonus tracks.

Captain High Records present a reissue of Les Baxter And His Orchestra's Les Baxter's Jungle Jazz, originally released in 1959. Les Baxter (1922-1996) used to be an utterly talented composer and bandleader who was on the go to the max during his active years. His version of jazz music was a contemporary fresh and colorful sound with an exotic vibe due to the use of many elements of Latin music within a modernized big band sound. He draws inspiration from the various swing orchestras of the late 1920s and combines this lush big band approach with a hot South American groove that shows an affinity for Cuban club music, for mambo and salsa. With rhythmical effects and a few wordless female vocal passages added, he builds this haunting jungle atmosphere on top while leaving out the too obvious animal voices. The Latin jazz and swing elements harmonize fairly well with each other and the melodies Les Baxter and his orchestra create drag you into a different world. You can dance to this or just close your eyes and float upon this gentle river of sound. The tunes are all built and arranged like a movie score which is no wonder as Les Baxter has been a soundtrack composer ever since. What makes this record so special are the pictures that come to mind with the always-changing soundscapes it features. It is by far not only an evergreen jungle forest with big cats, apes and savage men hunting for white goddesses, but also an urban jungle with grey skyscrapers growing beside the dirty streets, a bridge between the exotic dreams of each young American in the 1950s and the often gloomy reality in the big cities. But it is always a joyful experience. The album is performed by an orchestra of extraordinary talent with an exceptionally tight interplay and still sounds fresh and powerful after nearly 60 years. A reissue is welcome to drag it back into the light of attention as many younger jazz fanatics might have overlooked this gem due to whatever circumstances. This new edition makes sure "Jungle Jazz" survives and infects a whole new generation of swing kids. Includes four bonus tracks.

Between the end of the '70s and the early '80s, a new sound appeared in London and its surroundings, a unique mix of funk, jazz-funk, and disco labeled Britfunk. Characterized by its raw energy that can put the needle "in the red", this up-tempo sound was a match for the UK's dancers and jazz-funk clubs. This first release by French label Chuwanaga features some of the most exciting, rare, and powerful tracks from that era compiled by the Parisian DJ and activist Saint-James, with bands such as Equa, Potion, Inch By Inch, Congress, Index, and Spookey. These young British musicians were equally inspired by the American jazz-funk productions and dub music and reggae pushed by the Afro-Caribbean community at the heart of Britfunk's development. They gave funk a unique British flavor. However, more than just a music genre or an enclosed expression of black Britishness, it was part of a genuine musical and social movement with its own dedicated labels, fashion sense, and most importantly, its own set of values that fueled the whole scene. Britfunk built itself within a multicultural evolution: black people, white people, straight and queer, all dancing in the same room to the same loud sound. Includes insert with an in-depth focus on this musical era.

2017 edition of the 2008 debut by Hamburg's Arne Schaffhausen and Wayan Raabe aka Extrawelt. The duo describe the aesthetic of Schöne Neue Extrawelt thusly: "It's all about hooking up our music to the emotional world of electronic music at the beginning of the '90s, however, without falling for nostalgic references. We don't want to do cowardly zeitgeist techno, we want to have the heart to dare big sounds and more melodies. Sunrise scenarios, energy, revolution and kaput-ness, all these are parts of the Extrawelt." Extrawelt have been unmistakably imprinting the last three years' club sound with widely-noticed releases on Border Community (Soopertrack, 2005), Traum Schallplatten (Doch Doch, 2006), and Cocoon Recordings (Titelheld,2006) as well as with remixes for Gregor Tresher, Minilogue and Alexander Kowalski. Work on this record took over two years: "The initial idea was to present an album covering all styles of electronic music between ambient, breakbeats and techno. When we had 25 tracks for the album ready, we had to realize that this approach did not work for us. Insofar, we finally decided to use the 4/4 bass drum in all tracks except in the little intermezzo 'Kurt Curtain.' We have tested all tracks live over the last three months and constantly re-interpreted them. So, the 'danceability' is clearly our focus ... but our intention was definitely not to deliver an album full of superficial peak-time hits." These 12 tracks represent a pleasurable "in-betweenness", the organic development of hypnotically compressed dance music that is more than just minimal techno, reduced trance or electronic circa Warp-era. From the richly decorated musical clock intro of "One Tree Hill" to the stereo singing bowl of "Trümmerfeld", to the Asian-sounding creaking of "Daten Raten", Extrawelt celebrate a vision of futuristic melancholy with organically detailed richness that is permanently in motion, but is nevertheless well-balanced.

2017 edition; Originally released in 2011. From Soopertrack on Border Community in 2006 to the Titelheld EP that same year and the album Schöne Neue Extrawelt (COR 019-2CD/LP) from the year 2008, which belong to the best-selling releases on Cocoon recordings, the two Hamburg residents Arne Schaffhausen and Wayan Raabe have skyrocketed their reputations to become two of the most style-forming techno protagonists within the last ten years. "We don't want cowardly zeitgeist techno. We want to be courageous and dare new sounds and melodies. Sunrise scenarios, energy, revolution and 'Kaputtheit' -- these are all parts of the Extrawelt," the two musicians once said, and this artistic credo applies to their long-awaited second Extrawelt album, too. "We took our time and have collected tracks that have particularly touched us, no matter whether they are club-compatible or not. Besides that, we didn't want to repeat ourselves, and have created a unique second album that stands for itself." Without doubt, the two have succeeded in this. The spectrum of musical influences has again extended and the most diverse styles of electronic music connect seamlessly with the Extrawelt spirit. Here, the sonic zeitgeist is not the determining variable for the music -- what really counts is the creation of nothing more and nothing less than a new world, by means of a never-exhausting acoustic imagination which shows new facets, even after the thousandth time of listening. One should be careful with the use of superlatives, but this is exactly how masterpieces are sounding.

Since their first release on James Holden's Border Community dropped in 2005, Extrawelt, Arne Schaffhausen and Wayan Raabe, have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", and their two seminal albums on Cocoon Recordings -- Schöne Neue Extrawelt (COR 019CD/LP, 2008) and In Aufruhr (COR 028CD/LP, 2011). Fear Of An Extra Planet completes the Cocoon trilogy. Fear Of An Extra Planet offers the wide open spaces and dark, dusky worlds reminiscent of their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream-like quality that made James Holden's label so influential. "Gott Ist Schrott" takes a much more minimalist approach with its retro '80s drum programming, monster bass lurking in the breaks, and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro, with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like "in pursuit" feeling. "Das Große Flimmern" keeps with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade their listeners with an energy and impetus that always radiates from their music. On "Silly Idol", Schaffhausen and Raabe opt again for a more minimal tack, focusing even more intensely on the dancefloor to reveal a pulsing, twisted heart to the album. "Punch The Dragon" is the hidden gem of the collection, utilizing and melting together the most bombastic and playful elements. The title track opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analog drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album. The morbid charm of the title "The Friendly Coroner" is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. The dramatic end of "2084" leaves you transfixed, safe in the knowledge that you've just witnessed a science fiction epic.

This latest adventure in Cocoon's cult 10 inch vinyl-only series comes from David Koch, aka DeWalta, with Alex & Digby. Timeless, kicking, reduced to the essentials, but still interfused with daring space sounds and melodic shreds, DeWalta's "Bitter Earth Dub" speaks to your deepest dance impulses. The opening salvos of "Citadel" suggest Alex & Digby are taking a much more minimal, electronic approach, however it soon veers off in a completely different direction. Deep organ harmonies meet Black Dog and B12-like sound effects and an almost soulful deepness takes hold as we immerse ourselves in the track.

Across three tracks, Berlin based producer Phon.O demonstrates his ability to combine UK bass influences with techno sensibilities. "CLU5T3R" opens with a swinging 132bpm rhythm that sits somewhere in between classic UK-funky and a cracking Shed/Heads High techno anthem. "V3R5U5" progresses the mood into a more ethereal space, building layers of pads and texture as the track develops. "H4NDCUFF3D" takes the mood into a more dramatic backdrop. Chilling pads swell up from the ground like mist in a graveyard, while the broken rhythm sets pace, creating a moody ambiance.

"My Brother The Wind, Vol. 1 captures Afrofuturist visionary Sun Ra's initial 1969 encounter with the Moog synthesizer. The album has been meticulously remastered from archival session tapes and includes rare and previously unreleased studio material. Recorded in 1969 and self-released by Sun Ra in 1970 on his independent Saturn label, My Brother The Wind is one of several albums that showcase Ra's initial reckonings with the then-recently introduced Moog synthesizer. Although the Astro Infinity Arkestra is credited on the original Saturn LP sleeve, only three sidemen were on the session -- reed players Marshall Allen, John Gilmore, and Danny Davis, with Moog performance pioneer Gershon Kingsley serving as synth programmer and technical consultant. The original 1970 Saturn release featured four tracks, which are included on this remastered edition. Features the complete tracking session of Ra's Moog-centric single 'The Perfect Man,' with three full takes of the title, including two previously unissued versions and the monumental 18-minute 'Space Probe,' an outrageously freewheeling Ra solo work recorded on a Moog (or two) around the same time. The remastered editions include liner notes by Moog historian Brian Kehew. Technical notes are provided by jazz historian Ben Young, who also restored and remastered the album with Joe Lizzi."

Double LP version. "My Brother The Wind, Vol. 1 captures Afrofuturist visionary Sun Ra's initial 1969 encounter with the Moog synthesizer. The album has been meticulously remastered from archival session tapes and includes rare and previously unreleased studio material. Recorded in 1969 and self-released by Sun Ra in 1970 on his independent Saturn label, My Brother The Wind is one of several albums that showcase Ra's initial reckonings with the then-recently introduced Moog synthesizer. Although the Astro Infinity Arkestra is credited on the original Saturn LP sleeve, only three sidemen were on the session -- reed players Marshall Allen, John Gilmore, and Danny Davis, with Moog performance pioneer Gershon Kingsley serving as synth programmer and technical consultant. The original 1970 Saturn release featured four tracks, which are included on this remastered edition. Features the complete tracking session of Ra's Moog-centric single 'The Perfect Man,' with three full takes of the title, including two previously unissued versions and the monumental 18-minute 'Space Probe,' an outrageously freewheeling Ra solo work recorded on a Moog (or two) around the same time. The remastered editions include liner notes by Moog historian Brian Kehew. Technical notes are provided by jazz historian Ben Young, who also restored and remastered the album with Joe Lizzi."

The elusive STL returns with a three-track EP on his newfound home of Dark Matters. Nonzero Sonics is the sixth release on the label, and their first to emerge in 2017. Nonzero Sonics explores dark and twisted sentiments in avant-garde structures, consistently executed with impeccable detail. "No More Words" meditates on elements of dub and techno in an extended form, whilst "Smooth Selector" establishes a stripped-back groove replete with sub frequencies and cavernous echoes. Closing track "Out Of The One" places peculiar harmonies in a tranquil framework, exemplifying the diversity of a producer with true dedication to his craft.

With a common language of abstract, modular techno Donato Dozzy and Peter van Hoesen offer "Storta" which has a certain psychedelic tribal aesthetic. With "Serval", Dutch producer Deniro drives a soulful, journey to an intergalactic world shaped by the Gods of Detroit -- smooth sauce, that Derrick May would approve of. "Sexual Frustration", by American producer Matrixxman (Charles Duff), highlights his analog dexterity, when a soft palette of vibrant, almost electro-like sounds. Dutch producer Talismann (Guy Blanken, Makam) known for his hypnotic drones and apocalyptic rhythms offers "Aciano", a haunting series of raw acid, and prophetic beats.

The Dekmantel Selectors compilation series is set to continue with a highly-anticipated edition curated by Joy Orbison. First announced in 2015 when the Selectors project was unveiled, the fourth compilation in the series finds the singular UK talent curating a sort of tribute to his home country and its rich musical history. Like many of us, Joy Orbison (aka Peter O'Grady) is a product of his environment. Based in London, he's keenly aware of the UK's unique musical landscape and the role it's played in shaping his own artistic vision. Growing up, the sounds of garage, jungle, and dubstep all made an impression on him, but O'Grady knows that the roots of this music go back much further. "Soundsystem culture is a thread that runs through almost everything here," he says. "It's had a huge effect on me, sometimes without me even knowing it." In keeping with previous Selectors compilations, O'Grady's contribution to the series is not a mix CD, but a collection of hand-picked tracks from his own archives. Touching on everything from shuffling garage and loopy techno to booming jungle and a number of distinctly British hybrids, it's a diverse collection to be sure, but O'Grady prefers to focus on what ties these tracks together. "We're a lot more focused on BPM and genre these days," he says, "but I can honestly say that didn't really cross my mind while I was compiling this. In my mind, all these tracks have a lot in common." "What I do is a direct result of this music and I'm indebted to the sociological factors that brought it to life," explains O'Grady. "The UK at its best is a celebration of diverse cultures intertwining and creating beautiful results. Hopefully this collection of music can document a piece of that. Now more than ever, it seems important to acknowledge and celebrate this." Features James Massiah, Toyin Agbetu, Rosaline Joy, R Solution, Beatrice Dillon, Bitstream, Oblivion, L.E. Bass, Stylistic, Santos Rodriguez, JP Buckle, and Klein.

London's Chocky joins the Dessous label and shares three tracks of sublime house music on Steve Bug's imprint. "Self Knowledge" is a deep, tech-y roller clocking it at nearly ten minutes -- plenty of space to expand into its full potential -- the groove grows ever more hypnotic and engaging as the track unfolds. Next up is "A Reefa", a not too subtle reference to a certain herb that might have inspired this loose, yet highly funky deep house jam. "Casa De Estrela" changes the vibe up with a more direct and jacking track.

Powell loosens up and reaches out on the second New Beta playground for Diagonal, budging bones and buns in seven hot-stepping, curiously emotive permutations that swerve from Æ-style abstraction to pointillist electro-acid and a brace of mutant diskotheek breakers. As with the first volume (DIAG 038LP), he's clearly still gassed off his new hardware, resulting a nerve-jumping fizz and crack that sounds like he's jamming with fingers directly in the jack ports. Like some cyborg antagonist who can't stand to see humans plodding four-square do-si-do in the dance, Powell fractures and gels the groove in wickedly freakish exercises, increasingly finding himself attracted to near beat-less structures to give his dancers and listeners more jelly limbed options for kinaesthetic interpretation and fucking weird feels. On "PosTAe", he prangs out in sincere tribute to arch 'borgs Autechre with a hot mess of haywire modular plongs, before "Sneak 2_05" catches him cutting back to the ascetic funk of his earliest 12"s, this time sharper, serpentine, before "Rudeboy, Let's Funk" catapults us into something like a scrap between Trevor Jackson and Luke Vibert, all clipped drum clatter and acid zig-zags itching for the sweat, farts and perfume of the 'floor. "Slippy Pig" jabs the B-side into play with some of the EP's nattiest, stepping impulses drawing a line from The Normal through Ed Rush's Wormhole (1998) via The Bocaccio, then "Drumz VIP" darts like some deviant jazz-funk oddity from West London, with its dissonant flourishes making way for the febrile blatz of "Hoi!!" and the record's surprise standout in the richly colorful and dynamic phrasing of "Strobe", perhaps the smartest/goofiest iteration of Powell's new sound in circulation. RIYL: Autechre, Aphex Twin, Din A Testbild; all the best oddballs. Vinyl only -- no digital. Mastered and cut by Matt Colton.

Italian record label DLBM., the techno roughness conservators, release the final chapter 12" with 00Z. Featuring four tracks, igniting 21 minutes into the world of techno and electro, filled with acid and mystic grooves by the owners Beat Movement and D-Leria before hosting two bonus tracks by Umwelt and Endlec. DLBM. is a household name on Truss's Rinse FM Podcast series and Sunil Sharpe's "The Quarterly Crate" show. Their tracks have been supported at Movement Festival in Detroit by Detroit Techno Militia, Awakenings Festival by Matrixxman, and by many others. White vinyl; Edition of 200.

The first volume in an ongoing series compiled by Butter Sessions and Noise In My Head, Domestic Documents surveys independent artists who are living and producing electronic abstractions in Australia. Far from a complete guide to the country's burgeoning scene, the double LP set presents a cross section of wide ranging sounds and ideas, traveling the endless highways between Brisbane, Sydney, Canberra, Melbourne, and Adelaide, as well as regional towns Ballarat and Keyneton. Featuring exclusive tracks from Daze, Mic Mills, Albrecht La'Brooy, Lucy Cliché, and more, the compilation also marks the first vinyl outing for newer comers Chiara Kickdrum, Ben Keynes, and the fresh Dan White/Ryan Hunter collaboration Turner Street Sound. Also features Cale Sexton, Multiple Man, Low Flung, and Mosam Howieson.

From the liner notes by Jakob Ullmann (translated by Peter Gebert and Molly McDolan): "It was during a break in the inaugural meeting of the East German section of the IGNM (International Society for Contemporary Music) in March of 1990 when Reinhard Oehlschlägel, the long-standing music editor of Deutschlandfunk in Cologne, suggested taking advantage of the fact that John Cage was to attend the summer courses in Darmstadt as a special guest by inviting John Cage to East Berlin. . . . Making Giacinto Scelsi's works accessible in the concert hall, the discovery of the quiet and the intangible in the late works of Luigi Nono, the deeply impressed reception even of distant traditions beyond the realm of music by Morton Feldman, and more, had led to the development of a sound phenomenon that would almost have to be called a style, and Cage's works such as 72, and perhaps even more, 103, seem to fit in seamlessly. . . . Cage wrote In A Landscape in 1948 to a choreography of Louise Lippold; the rhythmic structure of the lyrical work echoes the structure of Lippold's dance with its 15 × 15 (5-7-3) measures, while the modal soundscape of the piece is clearly modeled on the aesthetic of Eric Satie. Thirty-four years later, Cage composed a piece for 1-20 concert harps, which was premiered in the same year in Minneapolis. In this piece, Postcard From Heaven, Cage draws on three double ragas, which are used both in their ascending and descending forms, and the characteristics of which may be utilized . . . The thirteen parts of Some Of The Harmony Of Maine for organ are based upon movements from a chorale book published in 1794 by Supply Belcher in Boston. Each piece is indicated by the title and, in abbreviation, the meter of the chorale. Cage did not change any of the notes of the original movements; instead, he used chance operations to decide which notes were to be carried over, which to be removed, the duration of these notes, and in which organ registers they were to be played." Performed by: SWR Sinfonieorchester Baden-Baden und Freiburg, conductor Jonathan Stockhammer; Kölner Rundfunk-Sinfonie-Orchester, conductor: Arturo Tamayo; Gabriele Emde - harp; Jakob Ullmann - organ. Includes a booklet in German and English.

LP version. Mint green vinyl. Each of these four epic tracks is a testament to the fact that Causa Sui have carved out a singular niche for themselves, where vintage Sabbath-isms are filtered through a distinctively post-modern ethos. Causa Sui's brand of rock conveys everything that's so great about fuzzed-out heaviness, yet there's something about it that makes the listening experience far from trivial. In stark contrast to the standards of the stoner/doom scenes, Causa Sui manage to be weighty and peaceful at the same; forceful, yet vulnerable, ecstatic yet thoughtful. On opener "The Drop", the band drives a thick John Bonham groove into Can-esque freeform ecstasy before liquefying the groove into a warm ocean of shoegaze-y guitars and wistful synths. On 11-minute centerpiece "El Fuego", they create a sonic river that seems be channeling Popol Vuh as much as Palm Desert stoner rock. And the closing title track can best be described as sounding like that Sonic Youth sludge-metal record that never was.

Reissue on 180-gram opaque white vinyl. Originally released in 1965. The transitional "Bells" was just under 20 minutes, released originally as one side of a clear vinyl LP with the other side empty of music. It was recorded at a May 1, 1965, Town Hall concert of ESP artists, displaying Albert Ayler's new group, which added Albert's brother Donald and Charles Tyler. The denser sound of "Bells" shows Ayler moving towards the bigger sonic statement made on Spirits Rejoice (ESPDISK 1020CD/LP), his September 23, 1965, Judson Hall session. By the way, "Bells" as heard here is not, in fact, a single composition; rather, it is a medley moving from "Holy Ghost" to an unnamed theme and then into "Bells" proper. ESP-Disk' founder Bernard Stollman was so excited by "Bells" that it was released without delaying to record additional music to fill the other side of the LP. Both Donald Ayler and Charles Tyler were making their recorded debuts; Tyler would go on to record for ESP as a leader (Charles Tyler Ensemble (ESPDISK 1029CD, 1966), and Eastern Man Alone (ESPDISK 1059CD, 1967)). One vinyl pressing of Spiritual Unity (ESPDISK 1002CD/LP) in the '60s substituted a different track for "Spirits." Mr. Stollman had no memory of how this had happened, but it was subsequently corrected and became a rarity known only to rabid collectors and ESP fanatics. The one that is on all the CDs (except for one Japanese release with both) and all the rest of the vinyl editions is the same tune as what is titled "Saints" on Witches & Devils (aka Spirits, recorded on February 24, 1964). The anomalous substitution, which does sound somewhat similar, is the same tune known as "Vibrations" on the album Vibrations (aka Ghosts) and as "[tune Q]2" in Revenant's Holy Ghost boxed set. Martin Davidson (owner of Emanem, another indie label responsible for many groundbreaking jazz releases) suggested that ESP-Disk' include this mysterious rarity on its 50th-anniversary CD edition of Spiritual Unity (ESPDISK 1002CD), and supplied the sound file. ESP kept the vinyl edition of Spiritual Unity as originally intended. How to get "Vibrations" out on vinyl, then? Well, Bells has long had plenty of open space on its B-side. . . .

2017 repress; originally released in 1966. Featured artists: Albert Ayler (tenor sax), Ed Blackwell (trumpet), Don Cherry (trumpet, cornet), Sunny Murray (drums), Gary Peacock (bass), Roswell Rudd (trombone), John Tchicai (saxophone, alto sax). Michael Snow is a Canadian national treasure, a true Renaissance man. He assembled a stellar group to improvise a sound track for his art film, titled Walking Woman, featuring a silhouette that is rumored to have been inspired by Carla Bley. Digitally remastered. Manufactured in the USA by the original label. New digipak format. "This is a very interesting set, music that was freely improvised and used as the soundtrack for the 34-minute short film New York Eye and Ear Control. Tenor saxophonist Albert Ayler leads the all-star sextet (which also includes trumpeter Don Cherry, altoist John Tchicai, trombonist Roswell Rudd, bassist Gary Peacock and drummer Sunny Murray) on two lengthy jams. The music is fiery but with enough colorful moments to hold one's interest throughout." --Scott Yanow, AllMusic

Dragon and Phoenix refers to the names of the sound holes on the Chinese instrument known as the guqin, aka qin (gu is a prefix meaning "ancient"), which figures prominently on this album of improvised acoustic duos, being heard on thirteen of the sixteen tracks, with two qins on four tracks. Stephen Dydo, former president of the New York Qin Society, is the more traditional player here, whereas Alan Sondheim has a style heavily based on free improvisation. The two bonded over their instrument collections, sometimes trading or loaning choice items. Dydo, who has also had lengthy careers as classical guitarist and as a twelve-tone composer, once told the author that a good day of composing yielded a measure and a half; this painstaking attention to detail has stood him in good stead during his more recent study of the qin. Sondheim, who has previously had three releases on ESP-Disk starting in the 1960s and has prolifically spread his recent musical evolution across a variety of other labels, is an impulsive musical adventurer who uses his dizzying array of instruments for what their sounds can contribute to his musical style; he is not unaware of the traditional performance techniques of his instruments, but he never lets his musical expression be limited by or to those techniques. Except for the use of madal (a hand drum) on one track, all the music here is made with stringed instruments. The music is very often focused on contrasts of timbres and textures. However, there may be as much pure melodic content here as on any Sondheim album. Harmonies are spare but spiced with microtonality. Though it may be more subtle than much of ESP-Disk's catalog, attentive listeners will likely find that this meeting of tradition and experimentation lives up to an old ESP-Disk slogan: "You never heard such sounds in your life." A note about the track titles: They are based on the first sixteen characters of the Ch'ien Tzu Wen, translated by Ellen Zweig and Alan Sondheim, correlated with other English translations in Ch'ien Tzu Wen, The Thousand Character Classic, A Chinese Primer, edited by Francie W. Paar (1963). The translation is slightly modified for the CD, creating an almost haiku-like poem. Personnel: Stephen Dydo - qin, viola, banjo; Alan Sondheim - qin, viola, banjo, guzheng, rababa, erhu, madal.

Everland present a reissue of Van Jones's Time Has Made Me New, originally released in 1981. "Here's one very rare early '80s soul and boogie LP, as clean original copies now fetch well over $500, if you can find it... This brand new and first official reissue ever contains the now classic modern soul dancer 'Not About That (Show Me Some Respect)' alongside some very attractive ballad material for the more dedicated soul fans. The elusive Van Jones from Pughsville, VA continued to record -- as he did since 1976 -- several 7" and 12" singles into the decade. But this highly sought after album from 1981 is widely considered as the definitive moment in his short though fruitful recording career." --Marc Janssen

Everland present a reissue of O.T. Sykes's First Love, originally released in 1981. "Mr. O.T. Sykes is often and fondly called 'The Singing Dentist' but it's far from a joke. Dr. Sykes, who till this day never gave up his day job, chooses to do only top quality music. He will not sell out to an already overcrowded pop-market as this extremely well respected and very soulful LP from 1981 so eloquently proves. Within an international circle of connoisseurs O.T.Sykes ranks among the very best of soul singers. This is true soul music to the max and is written, played and produced by Jeffrey Singleton (The Frat, Frat Band, Autofrat) and Mr. Sykes himself, plus the cream of the rich music scene in Memphis, TN. Original copies are now really hard to come by so this long overdue and most carefully prepared reissue is more than welcome." --Marc Janssen

Starchild Jr., aka Garrett Shider of Funkadelic, is a seriously talented guitarist, much lauded and in-demand in the music industry. This might not be surprising considering Garrett was brought up on guitar, being the son of legendary Parliament / Funkadelic guitarist and musical director Garry Shider. Hand Me Down Diapers is a funky album that is a tribute from son to father, and it acts as an extension of P-Funk All Stars. Hand Me Down Diapers is a punchy versatile album with gorgeous guitars and harmony. It features the funk maestro himself, George Clinton, on "Rawlife Theme (On One)" as well as other band members of the current Funkadelic crew.

Everland Jazz present a reissue of The Descendants Of Mike And Phoebe's A Spirit Speaks, originally released in 1974. "This delightfully eclectic LP is a prime example of '70s soul jazz. It is an early fusion record combining elements from jazz, gospel, soul and blues. It even has an edge of classical music, to be heard in the clear soprano voice of lead singer A. Grace Lee Mims on several tracks. As such it is a great sign of the times, the early seventies when musical experimentation and coalition was all abound. Bass player and band member Bill Lee would later gain fame as being the father of controversial filmmaker Spike Lee and worked as musical director/conductor on four of his son's excellent movie soundtracks. For sure you can already hear the early influences here! This is the best sounding reissue of A Spirit Speaks since its original release in 1974 and comes in an exact replica of the great original cover art." --Marc Janssen Licensed by Strata-East Records.

Everland Jazz present an official reissue of John Gordon's Erotica Suite, originally released in 1978. One of the rarest albums on Strata-East Records. a great later label effort under the leadership of trombonist John Gordon -- with work by James Spaulding on alto and flute, John Miller on piano and keyboards, Waymond Reed on trumpet, Lyle Atkinson on bass, and Frank Derrick on drums and bells; The whole thing has a very spiritual feel, and it features the long "Erotica Suite", plus "Ora Lee Tingle", "Blue Na", and "Neleh". Licensed by Strata-East Records.

Mefjus provides the 95th instalment of the world's leading dubstep, drum & bass and electro mix series from London's renowned Fabric nightclub. Mefjus's career kicked off in 2012 after Phace & Misanthrop signed his "Distantia"/"Far Too Close" track to their label. Other labels took notice and he began his relationship with Critical Music. FabricLive 95 features all of Mefjus's own productions, remixes, and collaborations across a 29-strong tracklist. Channeling the kind of raw energy that's become a staple of Mefjus's DJ sets, it combines his skull-shattering brand of neuro-funk with turbulent soundscapes, varying and different takes on d&b's blueprint, and the kind of flawless mix downs that have made him the poster-boy for the genre's next generation. Features some earlier releases, some brand new material, and a number of unreleased VIPs. Features Kasra, Noisia, Camo, Krooked, Ivy Lab, Phace, InsideInfo, Emperor, Current Value, June Miller, and Misanthrop. Packaged in bespoke slipcase containing die-embossed tin.

Lunar Glyphs is the long-awaited third album from Desolate. Like a fine wine, after five long years in the studio Lunar Glyphs is ripe to be heard. Includes HQ sleeve with 350g black caribic carton; Includes a two-sided screen print with gold.

Favorite present an official album reissue of Sunshine by Junior Byron, originally released in 1981. A real modern-soul/disco masterpiece, Sunshine was originally released by the Canadian label Formula Records and it's very hard to find today. Based in Canada, Junior Byron had quite a short career as a singer and recorded only a few singles and this stunning album between 1981 and 1985. Produced by André Perry and Joe La Greca, two famous names in the Canadian music scene, Sunshine is not just a one track album, but a complete whole piece of music, including some brilliants highlights such as "Inch By Inch", "Galaxy", or "Sunshine", which are must-haves in many DJ lists. As another longtime favorite collectable piece for Charles Maurice, Favorite Recordings finally officially reissue Sunshine for the first time on vinyl. In order to insure the best sound quality, the original track list, originally dispatched on a single vinyl release, has been dispatched on a double vinyl version, which should please all DJs and music collectors.

Matthew Puffett, most commonly known as Future Beat Alliance, presents a retrospective of selected works under his most lauded moniker. The name -- taken from an Afrika Bambaataa sleeve -- may have been a nod to the early-80s hip-hop, but the music bore the unmistakable influence of the Detroit techno that had become his obsession. Collected Works 1996-2017 maps an illustrious discography over two decades and is released on the artist's own imprint -- FBA Recordings. The realization of this project follows a three-year period of co-writing, programming, and engineering on UNKLE's album The Road: Part 1 (2017). Pairing impeccable sound design with a penchant for expansive textures, Future Beat Alliance's productions incorporate traces of hip hop, but arrive at a uniquely soulful take on electro and Detroit techno, replete with ecstatic harmonies, mesmeric tones, and sci-fi aesthetics. Collected Works 1996-2017 opens with one of his earliest productions on Void Records: "Intruder" is a utopic dose of abstract electro that hints toward the uplifting, meditative sentiment he was to explore over the next two decades. Early gems, like the broken beat dreamscape of "Eon Link 500" and the otherworldly melancholia of "Almost Human", are offset with stranger still productions, like the blissfully tense "Head Ways" and positively surreal "Lumiere". "Fake Love" takes sun-drenched grooves and contrasts them with animated synth leads, arriving at a transcendent, unearthly state; "Something To Hold" explores this further with glistening scales and nostalgic chords. "Calculated Notes" distorts his positive sentiment with unnerving melodies and stripped back percussion whilst "Without Words" carries his familiarly rapturous sound through new structures. "Dark Passenger" delves into deeper, more ambiguous terrain and is to be featured in an upcoming Hollywood film, All I See Is You, to be released in late 2017. Three 2010 tracks on Tresor remain as bold and diverse as ever, with the hypnotic arpeggios of "Machines Can Help", main room expanse of "Cross Dissolve", and bass-led mysticism of "Endless Blue". "Radio.Seti.Org" embarks on a strange, illusory journey through smooth pads and immersive synths. "Chemical Cloud" is a new production which features swirling reverberations and emphatic melodies. Collected Works 1996-2017 champions an oft overlooked aesthetic in contemporary techno, opting for radiant bliss over darkness and placing the listener in enveloping soundscapes, admirable for their sheer detail whilst never losing sight of the dancefloor. Includes download card.

After decades in the making, Finders Keepers present the first-ever pressing of Serge Gainsbourg's most elusive and coveted soundtrack studio recordings, co-written, arranged, and orchestrated by the genius Jean-Claude Vannier (the arranger behind 1971's Histoire De Melody Nelson) during what many consider to be the dynamic duo's most definitive creative period. Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone's lost Danger Diabolik soundtrack), the misplaced master-tapes for the drug-fueled/Mai 68 cash-in/road-movie Les Chemins De Katmandou (1969) have been widely considered the final audio jigsaw piece in an immaculate discography/filmography, thus earning this soundtrack bona fide holy grail status amongst the most avid disc detectives. Featuring the original crack team of Paris based players now recognized as French library music royalty, this album epitomizes the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse (1970), Cannabis (1970), and Sex Shop (1972), the sound that laid the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery. Comprising Vannier's signature recipe of thick plucked bass lines, close-mic'd drums, biting clavinet, and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou ("The Road To Katmandu", or "The Pleasure Pit") captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy. The music on this record contains the full extent of the music found on the newly discovered studio tapes. It has since been preserved through the "baking" process, re-emulsified, transferred, remastered, and recompiled and sequenced in accordance with the original screenplay in close collaboration with Finders Keepers and inaugural artist, Jean-Claude Vannier.

The French duo VTCN RADIO present their debut album, Mydriase. Mysterious and audacious odyssey, Mydriase presents itself as a sensory and confidential journey. Fruit of a nocturnal composition guided by a need of musical introspection and a decisive encounter with an owl, the writing of this album will cut off its creators in an alternative reality for three years. Behind VTCN RADIO are the French producers Nathan Bokobza, a pianist fascinated by the romantic repertoire and the harmonic research of the impressionists, and Louis Martinez, a guitarist passionate about digital technologies and their uses in the process of sound creation. The group revealed its existence at the end of 2015 with the esoteric "Riddle Song" and continue to surprise the spirits with the release of the compositions "Late Night Shuttle" and "Venus Flytrap" in 2016, before creating in 2017 their own label, Five To Six Records. VTCN RADIO present with Mydriase an experience based mainly on the dialogue between two entities -- a dark, deep and a purer and luminescent -- to constitute an elegant music, ambivalent by its capacity to propose different interpretations. This self-produced album marks the first release of their label Five To Six Records, and presents, in a broader way, the hallucinatory and singular universe of VTCN RADIO.

Roland Leesker returns to Get Physical Music with a brilliant new track that comes with a remix from Cardopusher. Entitled "Thunderstorm", it is seven minutes plus of moody and dramatic tech with heavy synth clouds, whining machines, and turbulent drums, all whipping up a storm. Venezuelan born Cardopusher masterfully cooks up another frenzied track with spraying acid, heavy, marching and industrial drums, and a real sense of rave energy. Finally, Leesker offers up his own "Dschinn Mix" providing even more raw energy. Angry drum rolls, stomping kicks, and huge hi hats all piled up and force you onto action.

Noplace is an improvised collaboration between Aidan Baker (Nadja, Caudal, B/B/S/), Simon Goff (Molecular, Bee & Flower), and Thor Harris (Swans, Shearwater, Thor & Friends). Having known each other for a number of years and previously contributed to one another's recordings, this trio finally came together as a whole on May 7th, 2017 at Redrum Studios in Berlin. In a short, improvised session of just a few hours, they set about laying down as much material as possible which was then subsequently edited and re-worked (without overdubs) to form this album. The same evening the trio played together as part of a nine-piece Thor & Friends ensemble which also included Christopher Hefner (on musical saw) whose artwork graces the cover of the record and gave it its name. Noplace is a hypnotic and deep listen. Kinetic rhythms pulsate throughout whilst the guitar and violin jostle and weave around the metronomic beats, creating a cathartic and all-encompassing experience. The very nature of the instrumental repetitions gives it an immediate avant/krautrock feel but the whole record is coated in a wonderful psychedelic atmosphere that's both melodic, textured, and innovative. Without doubt a perfect marriage and the sum of its parts. You would be forgiven for thinking Noplace took years to craft, but that's testament to three excellent musicians who have produced a real treat of a record. Broken down into seven pieces, but best enjoyed as a thrilling whole, Noplace is a powerful and highly addictive album. File under: avant/krautrock/improv/experimental. Artwork by Christopher Hefner. Mastered by Lawrence English. Includes download code; 180 gram vinyl; Edition of 500.

TootArd are a young, trailblazing ensemble from the occupied Golan Heights who deftly fuse Levant-tinted desert blues, melodic psych-rock, morphed reggae, and classical Arabic modalities. Their second album, Laissez Passer, is their debut international release and one of the first such releases from their homeland. Restless, buoyant, and eclectic. A Laissez Passer. Let him pass. That's the document the stateless carry. It's all that those from the occupied Golan Heights possess. Since 1967 the area has been part of Israel, but the inhabitants aren't Israelis. They don't have any citizenship. They don't have passports. Just a Laissez Passer. And for the members of TootArd, who all grew up in the village of Majdal Shams in the Golan, it's a very apt name for their second album. "Laissez passers are special situation papers," explains singer and guitarist Hasan Nakhleh. "It took us a while to realise the effect. We're permanent residents in Israel, but not citizens. We have no travel documents. When we travel we need the laissez passer. With no nationality, we're officially 'undefined.'" But in statelessness, the five-piece has discovered musical freedom. TootArd grew up understanding that borders are something imposed by governments, lines that only exist on a map. On a disc, in concert, they can go wherever their imagination carries them. They carry their citizenship inside. "What we do now is the result of everything we've ever done and heard," Nakhleh says. "We began listening to Tuareg music and we fell in love with it. It resonated with us. North African music is something we've heard since we were children. We all grew up with classical Arab music. In finding our own sound, we've discovered things from all over." With its insistent riff that evokes the space of the desert; the glorious, driving, funky percussion; and an electric guitar that Nakhleh modified with extra frets to sound like an oud, the title-track builds a manifesto that bonds West Africa and the Maghreb to the Levant. It's a thrilling opener; more than that, it's a very catchy one, with the subtle reggae flourishes adding an organic international feel. TootArd are not "undefined"; they've fashioned their own identity in their music, creating a bond of the stateless that reaches from the Levant to the Tuareg -- another people without a real home -- and reaches out far beyond. Let them pass.

LP version. 180 gram vinyl; Includes download code. TootArd are a young, trailblazing ensemble from the occupied Golan Heights who deftly fuse Levant-tinted desert blues, melodic psych-rock, morphed reggae, and classical Arabic modalities. Their second album, Laissez Passer, is their debut international release and one of the first such releases from their homeland. Restless, buoyant, and eclectic. A Laissez Passer. Let him pass. That's the document the stateless carry. It's all that those from the occupied Golan Heights possess. Since 1967 the area has been part of Israel, but the inhabitants aren't Israelis. They don't have any citizenship. They don't have passports. Just a Laissez Passer. And for the members of TootArd, who all grew up in the village of Majdal Shams in the Golan, it's a very apt name for their second album. "Laissez passers are special situation papers," explains singer and guitarist Hasan Nakhleh. "It took us a while to realise the effect. We're permanent residents in Israel, but not citizens. We have no travel documents. When we travel we need the laissez passer. With no nationality, we're officially 'undefined.'" But in statelessness, the five-piece has discovered musical freedom. TootArd grew up understanding that borders are something imposed by governments, lines that only exist on a map. On a disc, in concert, they can go wherever their imagination carries them. They carry their citizenship inside. "What we do now is the result of everything we've ever done and heard," Nakhleh says. "We began listening to Tuareg music and we fell in love with it. It resonated with us. North African music is something we've heard since we were children. We all grew up with classical Arab music. In finding our own sound, we've discovered things from all over." With its insistent riff that evokes the space of the desert; the glorious, driving, funky percussion; and an electric guitar that Nakhleh modified with extra frets to sound like an oud, the title-track builds a manifesto that bonds West Africa and the Maghreb to the Levant. It's a thrilling opener; more than that, it's a very catchy one, with the subtle reggae flourishes adding an organic international feel. TootArd are not "undefined"; they've fashioned their own identity in their music, creating a bond of the stateless that reaches from the Levant to the Tuareg -- another people without a real home -- and reaches out far beyond. Let them pass.

Go! Bop! returns with It Crawled Out Of The Vaults Of KSAN 1966-1968 - Volume 2, awesome underground live material from one of the most important psychedelic rock pioneers in history of mankind. Jefferson Airplane, in a very early incarnation when Skip Spence and Signe Anderson had just made way for the goddess of psyche Grace Slick on vocals and Spencer Dryden on drums to form what should become the classic line-up that led this band to their huge success. Four of nine songs appear on their cult album Surrealistic Pillow released in 1967, and two more have appeared as part of Jefferson Airplane Takes Off in 1966. There are later live versions of "Fat Angel" and "Other Side Of Life" on the 1969 live album Bless It's Pointed Little Head, but these are the earlier, more rough-edged and insane psych-out recordings of both beautiful pieces. You get Jefferson Airplane on this record, bare naked and honest to the bone. Just as they had been when they plugged-in and played. The sound is amazing, raw, and wild but clean and powerful enough to give every instrument and voice enough room to unfold. Technically not overwhelming, but with a feeling of passion and dedication that only a true live recording can capture. And from every note that is played here, you can feel the breath of the era where the cold war nearly turned into a very hot one and the world stood on the edge of a nuclear war while down in Vietnam ... well you all know the story. It was a time when the people freed themselves from the past and lived a self-destined life. This recording is an eye witness on historical developments and indeed a little masterpiece that will please any fans of late '60s psychedelic sounds, die-hard Jefferson Airplane freaks, and whoever cares for the best ever period in music.

The It Crawled Out Of The Vaults series of live albums comes from the KSAN radio station vaults and features material recorded and broadcasted at several occasions at either the Filmore Auditorium or the Avalon Ballroom in San Francisco during the years 1966 to 1968. Some of the hottest rock bands of the era got captured there on tape. Go! Bop! move straight to Volume 3 of the series and it begins with a set of three songs by none-other-than Country Joe & The Fish, fronted by legendary singer/songwriter and former G.I., Country Joe McDonald who created the probably most notorious anti-Vietnam War tune ever. Three songs build the first half of the A Side of which the first two can be located on the studio versions on the 1967 albums Electric Music For The Mind And Body (1967) and I-Feel-Like-I'm-Fixin'-To-Die (1967). The "H-Bomb Song" is a cool acid-gospel tune with a pure jam around the actual song. Next come The Byrds with another three tunes from their Younger Than Yesterday (1967), The Notoriouos Byrd Brothers (1968), and Dr. Byrds & Mr. Hyde (1969), some very stoned announcements and a little discussion if they might play another song which in the end happens to the excitement of the audience. Moby Grape whose founding formation featured Alexander "Skip" Spence, former drummer of Jefferson Airplane, rage through a set of kicking power rock, psychedelic blues and jam tunes. The last track features their friends Big Brother & The Holding Company. This whole album perfectly aligns the spirit of the day when the world stood at the edge of a third world war which partly got fought in South East Asia already and thousands of young Americans died in the jungle, while on the other side of the ocean a whole generation of youngsters stood up to free themselves and move away from the strict traditions. So this album does not only guarantee musical joy in abundance, but it will take you back to a time when young people were more determined to go new and better ways, and everything seemed possible for everything was free to be tried. The music here is a proof how songs can work as a vehicle that carries your spirit everywhere. The sound once again is rough but clear, the performances of all bands are way looser to those on their studio tracks, but this is precisely the ingredient that makes this album a memorable and well-loved experience.

Nick Oliveri on N.O. Hits At All Vol. 3: "This records you are holding is Volume Three of a series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sang and/or recorded bass on 50+ releases of bands I love and had the great honor to work with: Dwarves, Mondo Generator, Svetlanas, Queens Of The Stone Age, Kyuss, Bl'ast, Bloodclot, Masters Of Reality, Vista Chino, Mark Lanegan Band, Turbonegro, Death Acoustic, The Uncontrollable, to name a few. The good folks at Heavy Psych Sounds Records are releasing a series called N.O. Hits At All. Now for the first time, all these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud." N.O. Hits At All Vol. 3 features: Royale Daemons, Dwarves, He Who Can Not Be Named, Kyuss Lives!, Plan B, and Melissa Auf Der Maur's Hand Of Doom.

Nebraska's Metaphor To The Floor EP lead track "Affirmation" possesses a subtle build up and release of energy, looping vocals, and dramatic chords. "Aglio e Olio" is a simple yet tasty Italian dish with of just five ingredients -- a great funk/house crossover appeal. Londoner Laurence Guy provides his version of "Aglio e Olio", a dreamier excursion with filtered pads, acid-y licks, and plenty low-end to get you movin'. Nebraska turns the energy up with "Big Plate Chicken", the sort of track you'd imagine Omar S. producing if he would be just a bit whiter, and a bit more British.

The Copenhagen based pop wonders Blaue Blume return with Sobs. "Macabre" -- "a happy song about being afraid of dying" -- is a whimsical, misty electronic pop song with an anthemic edge and unexpected twists and turns. "Ebony" presents an epic gentleness, beautifully crafted with a nod to '80s power ballads, yet perfectly contemporary. "Mayhem" takes a more electronic direction, with an intricate arpeggiated guitar and a clever drum groove providing the backing for an emotive vocal. "Haven't You" brings the EP to a close, a beautiful lament, perfectly layering guitar, synth bass, shuffling drums, and an exquisite, melancholic vocal.

Charles Mingus Sextet, live at Store Sal, Odd Fellow Palace, Copenhagen on April 14th, 1964. In April 1964, Charles Mingus took his remarkable band to Europe. Having fulfilled eagerly anticipated dates in Amsterdam, Oslo, and Stockholm, they played the remarkable set captured here in the Great Hall of the Odd Fellows' Palace in Copenhagen on the evening of Tuesday 14th. Fired up by an altercation in a shirt shop earlier in the day, Mingus gives an especially fiery performance, as does Eric Dolphy, who had already decided to settle in Europe, unaware that he had only two months left to live. Originally broadcast on Danish radio, the full set is presented here, digitally remastered, together with background notes and images.

Indian Puddin' & Pipe emerged from the Pacific Northwest in 1966, as West Coast Natural Gas. That familiar name would soon be erased by mogul Matthew Katz in favor of Indian Puddin' & Pipe for his Fifth Pipedream Volume One production venture in 1968. When the band split up shortly after, they were revived by Pat Craig and Steve Mack to return to Coast Recorders for one final session in 1969. Hiatus present the entire recorded legacy of one of San Francisco's finest underground bands from the 1960s psychedelic era. For a band that was cruelly denied proper recognition at the time, they have since become an integral part of Bay Area music history.

Hiatus present a reissue of Electric Sandwich's self-titled album, originally released in 1972. Bonn, Germany, the birthplace of not only Ludwig van Beethoven, but Arktis, Satin Whale, and Electric Sandwich. The stature of progressive rock or what we term as "krautrock" is not widely considered to be quite as tall as the classical giants, but Jochen Carthaus, Jörg Ohlert, Klaus Lormann, and Wolf Fabian made their own impressive and historic niche in 1972 with the release of their eponymous self-titled album for Hamburg's progressive outlet: Brain Records. Includes two bonus tracks; professionally re-mastered from original sound recordings; Includes interviews, background liners, and rare archival photographs.

Started on a whim in 2010 by Enablers vocalist Pete Simonelli (lyrics, vocals) and Lynn Wright of And The Wiremen (guitar), Molecular has seen a broad cast of musicians come and go in its highly rotational flux of instrumentation and musicianship in performances around New York City, England, and Spain. It is a "feel"-oriented collection of players whose ideas evoke a steady, yet shape-shifting spirit of improvisation. Warmest Regards is the culmination of a short week-long tour throughout England. This live recording is taken from a very lively, intimate set on a wintry Sunday night at New River Studios in London. The line-up includes Simon Goff (And The Wiremen) on violin, Algis Kizys (ex-Swans, Of Cabbages And Kings) on bass, and Sam Ospovat (Enablers, Ava Mendoza) on drums. It documents the progressive cohesion of the band after six straight nights of entirely improvised music. Over the course of these six shows, the poems, rants, and music were never delivered the same way twice. On that basis alone, the band just took the thing and let it kick them each and every way possible until the egg timer chimed and the set would then conclude. There were no foundations, no arrangements, and there was never any solid plan. The only rule followed was, as is ever the case with improvisation, to listen to each other. Recorded live at New River Studios, London UK on Dec 6th, 2015. Mixed by Algis Kizys. Artwork and layout by David Hand. Mastered by Douglas Henderson at Micro Moose Berlin.

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays, is a one sound autobiography that exhibits the skill, feeling, and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally. And full-length it is: The Golden Ravedays is an epic album of 24 tracks stretching over 12 respective chapter albums, released on Hippie Dance sequentially during a one-year period. The 11th edition of The Golden Ravedays brings another two tracks to the saga. Side A brings "Brothers". With two decades of spinning experience in discos, nightclubs, festival arenas, shady after-party zones, and intimate studio soirees, there is no doubt that Superpitcher is seasoned in throwing a damn good party. "Brothers" is party personified and a celebration of the night and the wise owls that respect its magical rituals. Its ultra-chic disco groove and dreamy female vocals transport one to a carnival of blessings. Side B features "Sleepy Head", a hypnotic lullaby carefully tucked away in a hammock that rocks to-and-fro like dozing mermaids in a wavy curtain of seaweed. "Sleepy Head" is a smart artistic statement and whimsical pause just before the release of the grand finale of the The Golden Ravedays saga. Includes download code.

Solo rhythmic electronics from Justin Broadrick of Godflesh, aka JK Flesh. Suicide Estate captures the urban legends and hard truths of Birmingham's notorious Bayley Tower. Suicide State makes the case for minimal austerity and maximal crush in productions that are both raw and precise. Propulsive rhythms and saturated sequences build, demolish, and investigate the pavement and skyline in proper industrial heritage. The atmosphere rolls in from nowhere and another ghost is born at Bayley Tower. Originally a cassette on Hospital Productions in 2016, this CD reissue sees a new reworking of "Bayley Tower" that is both functional and brutalist in nature. Eight tracks of cold bass electronics and drum machine from Justin Broadrick. Extreme music forefather Justin Broadrick is unilaterally regarded as one of the pioneers of Britain's late '80s burgeoning collision of punk, grindcore, and electronic movements, his unmatched creation of ethereal metallic atmospheres, stark existential lyrics and crushing dance rhythms credited only as "machine" are what makes his works stand alone, timelessly. Broadrick inimitably weaves industrial aesthetics into corners of music otherwise left untouched. The fearless and constantly innovative world that Broadrick cultivates reaches across musical barrier after barrier, and continues to influence decades of artists has earned him a throne in a genre of his own.

First ever vinyl edition of Justin Broadrick's crushing industrial turns as JK Flesh for Hospital Productions, combining the Suicide Estate and Antibiotic Armageddon releases for a greyscale spectrum of brutalist techno, abyssal acid dub, tramadol tribalism, and noxious noise textures that's highly recommended if you're into Regis, Birmingham at night, Kareem... It's an unflinchingly bleak representation of the world described in hard-edged techno and shot through with moments of affective, synthy pathos. In sonic and literal tone, the record forms a stark reflection on Justin K Broadrick Brummie stomping grounds, using demolished tower blocks as cues for some of the album's most affective moments, such as the wrecking ball assault of "Bayley Tower (New Mix)", the rubbled roulage of "Stoneycroft Tower", or the 'marish zumby techno lurch of "Bromford Bridge Estate", and all in a way that surely dovetails with the perceptions of anyone who has lived in a built up British area, or anywhere else with lots of concrete and little sunlight. The other half of the tracks are taken from and titled in reference to Antibiotic Armageddon, the inevitable point when pill-gobbling citizens of the world are no longer protected against old viruses, and new ones. The tone of these cuts is understandably bleak as fuck, too. "Tamiflu" dry-wretches a windswept passage of bummed-out dub techno breaks, where "Squalene (New Mix)" glumly follows suit with the clammy synth malaise of "Ethylene Glycol" and the knee-buckled crawler "Thimerosal", which sounds like one of his Godflesh tracks in the process of terrifying itself to death. Cut at Dubplates & Mastering, Berlin.

Call Super is back with his album Arpo. Another mesmerizing environment of restless beauty that refuses to conform too much else beyond his own work; it affirms Call Super's place as one of the most remarkable contemporary musicians working today. The album follows JR Seaton's highly-acclaimed, 2014 debut album Suzi Ecto (HTH 029CD, 2014). Earlier in February of 2017, Call Super released the mix Fabric 92 (FABRIC 183CD) as part of the London club Fabric's series, receiving critical acclaim from Resident Advisor amongst others. Call Super's highly-anticipated second album Arpo is presented on Houndstooth, the artist-led label from London's renowned Fabric nightclub and label. Cut and mastered by Matt Colton at Alchemy; Manufactured at Optimal-Media, Germany.

Sonambients: The Sound Sculpture Of Harry Bertoia is a deluxe CD/DVD package containing historic recordings made in Harry Bertoia's Sonambient barn. The DVD, a film titled Sonambients: The Sound Sculpture of Harry Bertoia, by Jeffrey and Miriam Eger, was shot in 1971 and follows Harry Bertoia in performance and interview throughout his Sonambient barn deep in the Pennsylvania woods. This film offers a rare opportunity to follow the artist in practice, listening carefully as he moves contemplatively through his sculptures and gongs. Interview footage offers rare insight into Bertoia's inspiration and process. A separate CD contains four exclusive, recently discovered audio recordings. Included are the two earliest known collaborative tapes from Harry and brother Oreste, morning and evening sessions dated October 12, 1969, as well as a collaboration between the Bertoia brothers and their sister Ave who sings in careful unison with the overtones being produced by the sculptures. With the passing of Oreste Bertoia in 1972, these recordings mark the last meeting of all three Bertoia siblings. A 16-page booklet includes many never before seen production stills shot by Jeffrey Eger. These iconic images capture the essence of the artist in practice. DVD is NTSC format, region free.

Descending is a composition consisting of two movements for room resonance, triangles, shakers, and horns. The recording was made in August 2015, performed by the Aarhus Jazz Orchestra. Descending is Niels Lyhne Løkkegaard's and Jacob Kirkegaard's first collaboration. The sound artists and composers Jacob Kirkegaard and Niels Lyhne Løkkegaard are both renowned for their ability to convert sound into a form with the character of an artwork and a bodily dimension that can be experienced by more than the ears alone. In his art, Jacob Kirkegaard uses acoustic phenomena that are usually either overheard or inaudible to the human ear. Using a range of sensors and recording methods, the material unfolds in compositions and spatial, visual, and sound works. Niels Lyhne Løkkegaard's art focuses on the multiplication of sound, extending it beyond its usual boundaries to re-emerge in new forms, as well as on the creation of imaginary musical works that the listener has to envisage before their inner ear. Composed, arranged and mixed by Kirkegaard and Løkkegaard, 2015 -2016. Performed by Aarhus Jazz Orchestra and recorded by John Fomsgaard live at Dokk1 in Aarhus, 2015; Front cover: Detail from Robert Fludd's Macrocosm Microcosm (1617-24). Supported by The Danish Arts Foundation & The Danish Conductors Association.Jacob Kirkegaard (b. 1975) graduated from the Academy of Media Arts in Cologne in 2006. His sound works are published by Touch, Posh Isolation, Von Archives, and Important Records (USA). Kirkegaard's works have been presented at a wide range of renowned exhibition platforms, festivals and conferences worldwide, including MoMA and Issue Project Room and The Stone in NYC, KW and Transmediale in Berlin, Mori Art Museum and Aichi Triennale in Japan, as well as Louisiana Museum of Modern Art and ARoS Aarhus Art Museum in Denmark. Niels Lyhne Løkkegaard (b. 1979) studied at Denmark's Rhythmic Music Conservatory and the Royal Danish Academy of Fine Arts' School of Architecture. He has created a wide range of works operating at the intersection of experimental music and sound art, including the soundtrack for MoMA's René Magritte exhibition The Mystery of the Ordinary in 2013. More recently he has created the critically acclaimed series SOUND X SOUND. Lyhne Løkkegaard is also the founder of the curatorial non-event Curatorium -- a sound festival that never takes place.

Christina Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world. In this piece, Kubisch considers whether this is the future Tesla envisioned and what remoteness means in an age where remoteness hardly exists at all. "Tesla's Dream" includes electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, security systems, advertising, and the sounds of discharges and activities of Tesla's own devices. Eleh's composition "Ohmage/Resistor" utilizes a new kind of spaciousness and was composed for piano and Serge STS modular synthesizers. Letterpress printed jacket; Edition of 500.From Christina Kubisch: "The figure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. . . . Tesla had invented and patented the first telephone amplifier in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifier with incorporated small coils to listen to the sounds in my installations. Later on my work with electromagnetic induction had developed into the series 'Electrical Walks', city walks with special headphones which make audible the usually hidden electromagnetic fields around us. In 2012, I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got a special permission to test tem. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece about electrical remoteness. . . .'Tesla's Dream' opens with the magnetic fields recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Tesla's devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual fields of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. . . . The glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch."

Home Age is the first proper Eleh full-length since 2012's Homage To The Pointed Waveforms. These three new pieces seek to expose the inherent musicality of pure electrical currents via high resolution Serge STS synthesizers. Like early Eleh work, Home Age is inward looking, domestic, and deliberate, but also slowly emotional and revealing as if peering blurry-eyed through a window. Melody, harmony, and counterpoint are suggested but not revealed. Packaged in a deluxe gold-on-black, heavy-duty letterpress jacket made by Studio On Fire in Minneapolis; Edition of 500.

Indigo Raw celebrates ten years with Behind The Scenes, centered around the eponymous creation by Nathan and Mathew Jonson. Equipped with a classic Jonson bass line and a scant little phrase, "Behind The Scenes" is a lesson in transmutation. Atom TM delivers an assertive piece that takes the darkest aspects of the original and brings them into the spotlight with a relentless stream of stabs and a sped-up beat. Nerosky -- Nerone and Fosky -- make their debut with a fuzzy old school banger that celebrates the original's melodic phrasing.

Label head Daniel Meuzard, aka Feater, and two of the top notch remixers around -- Tuff City Kids with Gerd Janson and Phillip Lauer. After 30 seconds, when the bass line rocks through the kicks and congas, the "Bright White Shoes" remix unfolds a magical attraction as if from another galaxy. Guiseppe Leonardi rumbles through the catacombs between slow-tech and calimba on his remix of "Digital Love". Ruutu Poiss from Estonia conjures up a mysterious and playful odyssey with Feater's "Birds" and meanders between Düsseldorf, London, and Detroit.

Jonny Nash (Gaussian Curve, Melody As Truth) and Firecracker's Lindsay Todd get barefoot and turn out a stunner of an LP with Fauna Mapping. Over the course of twelve compositions, you'll find the pair utilizing their recordings in a whole host of ways, avoiding the well-trodden clichés of the "exotic" and instead attempting to achieve a personal interpretation of the flora, fauna, and climate of the island. Spending time amidst the insects, rice fields, and scorching sun, the pair gathered a library of found sounds which were then taken back to a studio space to be stretched, mangled, and manipulated alongside a variety of electronic and acoustic instruments. The outdoor studio itself became a living instrument, with the duo setting up multiple microphones for durations of up to 12 hours around the space, layering and processing the results in tracks such as "Fauna Mapping" and "A Series Of Small Frogs".

Super limited edition vintage style 6x10" album set including book set. Comes with unique artwork and four exclusive bonus tracks. Since the release of their first Jukebox Mambo compilation album in 2012 (JMAN 055CD/LP/BK), Jazzman Records, with the curatorial expertise of DJ Liam Large, have been opening ears and minds to the delights of Latin-tinged rhythm & blues. The third release in the series sticks squarely to the tried and tested formula of its predecessors; combining a crate-digger's passion for the obscure with an ear for instant dancefloor crowd pleasers. In a congested field of R&B comps, Jukebox Mambo stands out uniquely in shedding light on the era of Latin American and Caribbean influence, a sensual rhythmic shift which continues to be felt in modern music today. Opener, The Emperor's "Tough De Times (Things Getting Tough)" is a classic example of Large and Jazzman's idiosyncratic capacity to bring striking singularities to light, a beguiling and seductive blend of jazz, blues, and Trinidadian calypso. Other highlights include the slinky rumba-blues of Percy Mayfield's lustful "Loose Lips", the only known recording by female blues shouter Ethel Boswell on the track "No More For You", and Chuz Alfred And His Combo's powerful rendition of the Duke Ellington standard "Caravan". Elsewhere, Jukebox Mambo Vol. 3 is dominated by virtuosic performances, from the smooth tenor vocals of Roy Gaines to the polyrhythmic swing of the Monogram Caribbean Orchestra, and the Syrian-American jazz stylings of Eddie Kochak. Lovingly compiled, artfully arranged and expertly annotated, Jukebox Mambo Vol. 3 is another immersive gaze into an era of musical history that still carries a unique influence today. This one is for the crate diggers and music lovers alike! Comes with in-depth track notes and photographs. Also features: Preacher Stephens with The Foree Wells Combo, Jimmie Wilcher And His Orchestra, Camille Howard, Paul Boyers Band, Pattie Parish, Clarence Garlow, Maurice King and His Wolverines, Floyd Dixon, Aggie Dukes, Otis Blackwell, Duke Groner, Big Bertha, Linton Garner & All-Stars, Austin Powell, The Ontarios with Frank Motley & His Crew, Toni Jordan, Christine Kittrell, Harmonica "Blues King" Harris¸ Donald Woods & The Vel-Aires, and Sax Mallard.

2017 repress. Following Our Love (2014), Caribou reveals a gloriously layered remix of "Your Love Will Set You Free" by Carl Craig. Dan Snaith on the remix: "I've dreamed of having [Carl Craig] remix one of my tracks for ages. He was one of the first people to publicly mention how much he liked Swim (2010) when it was released and we've been in touch since then. Before I'd gathered up the courage to ask him to remix a track on this album he got in touch and suggested it himself. The result is superlative and speaks for itself."

Two completely unissued belters from a favorite female R&B vocalist, Camille Howard. Recorded for Federal but never seeing the light of day until now, both "Rock With Me" and "Nasty Man" are superb mid-tempo R&B stompers, with Howard in full voice channeling her best blues shouter persona before giving way to greasy sax breaks at the mid-sections. Mastered from the original 1953 tapes, get this limited, fully licensed release while you can, these tracks are unlikely to see a vinyl release again any time soon.

Lone puts out a vinyl-only EP of unreleased tracks from his intimate entry into the DJ-Kicks mix series. "Saturday Night" is a breezy bit of deep house with crisp boom-baps and swirling pads that lend it a dreamy, ethereal feel. "Arc" is a little more direct, with scattered snares flapping over dry wooden kicks. It's a punchy bit of house that comes with springtime flutes, luscious pads, and a classically-inclined bassline. "Alpha Wheel 4 (Ambient Mix)", a kaleidoscopic passage of suspensory sound scuffed-up glassy surfaces trapping you in rays of refracted light from start to finish.

At the end of the '90s, there were a lot of murmurs about the living room scene in Berlin; magical concerts on improvised stages in temporary event spaces. It was a counter-reaction against the egos of rock stars. One of the protagonists of this scene was F.S. Blumm. But Blumm has shown many faces. He has collaborated with David Grubbs, Andi Otto, Harald Sack Ziegler, and Nils Frahm; He realized his love for dub reggae with the Quasi Dub Development; and he played post rock in the band KINN. Now, F.S. Blumm is entering a new phase of his creativity which one could call his nonchalant phase. Besides a few guitar chords and the suggestion of a xylophone in the background, there is nothing but the wide spaces between them. Fine, almost random sounding noises are remotely reminiscent of the era of his experimental instrumental concerts with classical guitar. Then the voice comes into play and everything changes. Laid-back, F.S. Blumm sings with a combination of urgency and relaxation. The piece are touching and intimate. This is the way "Handle Bar", the opening track on his new album Welcome, is delivered. Previously, Blumm was active as a songwriter. He wrote songs for three duos: Bobby And Blumm with Bobby Baby, Old Splendifolia with Jana Plewa, and finally Jonsson Gille & Blumm. For the first time since he started making music, he is singing his own songs himself on Welcome. And with every song on Welcome, new doors of association are opened. "New Day" uses reverb-laden drums and hymnal harmonies to great effect. But Blumm always manages to make the grandiose still sound grounded. Rather than spreading himself too thin, he prefers to explore the depths. There's the relaxed and erotically crackling "Going Away", the optimistic "Initial Spark", and the casual "Overweight". Blumm is ever traversing the field between greatness and modesty, sophisticated melodies, and recordings which are like the extremely condensed sound of a cassette recorder. This aesthetic permeates the entire album. With Welcome, F.S. Blumm has perfected the imperfect. Where other producers filter out the noise, pops, and crackles, Blumm does the exact opposite. He reverses the roles of desired and undesirable sound. What remains are songs like sculptures left in the wake of acoustic tracks.

LP version. Includes download code. At the end of the '90s, there were a lot of murmurs about the living room scene in Berlin; magical concerts on improvised stages in temporary event spaces. It was a counter-reaction against the egos of rock stars. One of the protagonists of this scene was F.S. Blumm. But Blumm has shown many faces. He has collaborated with David Grubbs, Andi Otto, Harald Sack Ziegler, and Nils Frahm; He realized his love for dub reggae with the Quasi Dub Development; and he played post rock in the band KINN. Now, F.S. Blumm is entering a new phase of his creativity which one could call his nonchalant phase. Besides a few guitar chords and the suggestion of a xylophone in the background, there is nothing but the wide spaces between them. Fine, almost random sounding noises are remotely reminiscent of the era of his experimental instrumental concerts with classical guitar. Then the voice comes into play and everything changes. Laid-back, F.S. Blumm sings with a combination of urgency and relaxation. The piece are touching and intimate. This is the way "Handle Bar", the opening track on his new album Welcome, is delivered. Previously, Blumm was active as a songwriter. He wrote songs for three duos: Bobby And Blumm with Bobby Baby, Old Splendifolia with Jana Plewa, and finally Jonsson Gille & Blumm. For the first time since he started making music, he is singing his own songs himself on Welcome. And with every song on Welcome, new doors of association are opened. "New Day" uses reverb-laden drums and hymnal harmonies to great effect. But Blumm always manages to make the grandiose still sound grounded. Rather than spreading himself too thin, he prefers to explore the depths. There's the relaxed and erotically crackling "Going Away", the optimistic "Initial Spark", and the casual "Overweight". Blumm is ever traversing the field between greatness and modesty, sophisticated melodies, and recordings which are like the extremely condensed sound of a cassette recorder. This aesthetic permeates the entire album. With Welcome, F.S. Blumm has perfected the imperfect. Where other producers filter out the noise, pops, and crackles, Blumm does the exact opposite. He reverses the roles of desired and undesirable sound. What remains are songs like sculptures left in the wake of acoustic tracks.

Captain Beefheart & His Magic Band, live at My Father's Place, Roslyn on November 18th, 1978. After a period of relative inactivity, in 1978 Captain Beefheart reemerged with a new Magic Band and a superb album, Shiny Beast (Bat Chain Puller) (1978). To promote it, they undertook a club tour of the US, to the delight of his devoted fans. The wonderfully energetic show, featured here, was performed in a 200-seat supper club in Long Island on November 18th, 1978 and broadcast on WLIR-FM, and finds the band tackling material from the breadth of his career to date. The entire WLIR-FM broadcast is presented here with background notes and images.

Following on from Aris Kindt's second album Swann And Odette (KDS 001LP) here is the second release on Francis Harris's new label Kingdoms. Apart from their own works composers, musicians and producers Brandon Wolcott and Emil Abramyan already had a joint release with "YouAndTheSpace Between", the opener on the Don't Break My Love release on Nicolas Jaar's Clown & Sunset label in 2012. In the same year, the two were approached by theater artists Michael Silverstone and Abigail Browde of 600 Highwaymen to compose music for a new work of live performance called The Record. The performance was part theater, part dance, part group hallucination, to be performed by 45 strangers -- vivid human assembly on an epic scale. Apart from a simple series of prompts and directions, the music was composed independently of the choreography. Drawing from backgrounds in theatrical sound design, classical composition and experimental electronic music, Brandon and Emil sought to create a diverse tapestry of sound, striving for a dynamic emotional arc that might elude a sense of genre or recognizable form. The music is performed live, with Emil on cello. Drawing from backgrounds in theatrical sound design, classical composition, and experimental electronic music, Brandon Wolcott and Emil Abramyan sought to create a diverse tapestry of sound, striving for a dynamic emotional arc that might elude a sense of genre or recognizable form. The music is performed live, with Emil on cello and structured into six songs on this mini-LP, Music Of The Record. LP includes download code.Brandon Wolcott is a Brooklyn based sound artist, composer, and theatrical sound designer. He has released music with Wolf + Lamb Music, Archipel Records, and Nicolas Jaar's Other People. His dance-music project Smirk, has been presented at venues and festivals around the world. Emil Abramyan is a New York based cellist and composer. After receiving his B.A. in cello performance from Manhattan School of Music, he began teaching and freelancing in Los Angeles and New York. An evolving appreciation for electronic music drove him to explore other forms and textures of sound, ultimately leading him to produce and compose for himself.

LP version. The rude boy moniker has its roots firmly set in the downtown districts of Kingston, Jamaica. Alongside the regular ska/rocksteady sounds coming out of the sound systems, there was an undercurrent theme to some songs that spoke of the struggles of the youth, of their confrontation, arrests, and run-ins with the establishment. Some of these songs praised the rude boys for their stance and style while other songs were more in contempt with the rude boys' attitudes, comings, goings, and violent behavior. For this release, Kingston Sounds have put together a set of tunes that the Jamaican rude boys would have been listening to at the sound systems on the lawns and street corners. The compilation not only includes the more obvious rude boy tunes like "Gunmen Coming To Town", "Dreader Than Dread", and "Moon Hop", but also some of the tunes that made the sound systems rock well into the night. Features Derrick Morgan, Lloydie & The Lovebites, Phyllis Wilson, Delroy Wilson, Rico Rodriguez, Honey Boy Martin, The Heptones, Justin Hinds, Lester Sterling, John Holt, The Ethiopians, and Pat Kelly.

Lauréne Exposito is back with a follow-up to her well-received debut album from 2016 on Knekelhuis. This new record turned out to be very personal. Life changes and love is strange are central themes in all its shapes, sizes, and colors. Still, hope takes center stage. All tracks have been recorded at Lauréne's home in the French Alps, using analog gear. Take a Cocktail Mexico and immerse yourself into her liberating new trip. This 10" comes with intimate inlay.

LP version. Includes download code. Kompakt's Pop Ambient compilation series returns for its 2018 instalment, with series curator Wolfgang Voigt presenting another batch of hand-picked recordings from genre veterans and newcomers alike. The more seasoned among 2018's contributors are easily identified by their individual artistic sensibilities, ranging from the morphing, organic rhythms of The Orb's sample collages (on "Sky's Falling") to Kaito's ethereal, trance-infused soundscapes ("Travelled Between Souls") and Mikkel Metal's intimate ambient songwriting ("Shame"). They join the ranks of Pop Ambient scholars such as or Adjunct's Kenneth James Gibson (who pairs soaring strings with bubbly percussion on "Disinclined To Vacate"). Thore Pfeiffer be found working with genre mainstay Leandro Fresco on opener "Splinter", crossing the growth rings of the Pop Ambient family tree with a subtle, atmospheric collaboration. Another welcome return to the roster, Jörg Burger dusts off his iconic Triola project last heard on Pop Ambient 2013 (KOMP 103CD, KOM 269LP, 2013) with the floating, echo-drenched cut "L'atalante". After making his Pop Ambient debut on 2017's instalment (KOMP 135CD, KOM 365LP, 2017), Yui Onodera continues his exploration of deep, intricate string sounds -- compelling material that shows the Tokyo-based musician and architectural acoustic designer as a strong addition to the Pop Ambient talent pool. He's joined by the two latest recruits to the series, both well-established artists in their own right: techno provocateur T.Raumschmiere flexes his drone muscles on the elegiac "Eterna", while pedal steel guitar maestro Chuck Johnson creates expanding sonic spaces on the meditative "Brahmi" -- a uniquely immersive cut that draws from the idiosyncratic country post-rock he established on his acclaimed Balsams full-length released in 2017. CD version features Magazine's Jens-Uwe Beyer and Max Würden & Thore Pfeiffer.

Kompakt's Pop Ambient compilation series returns for its 2018 instalment, with series curator Wolfgang Voigt presenting another batch of hand-picked recordings from genre veterans and newcomers alike. The more seasoned among 2018's contributors are easily identified by their individual artistic sensibilities, ranging from the morphing, organic rhythms of The Orb's sample collages (on "Sky's Falling") to Kaito's ethereal, trance-infused soundscapes ("Travelled Between Souls") and Mikkel Metal's intimate ambient songwriting ("Shame"). They join the ranks of Pop Ambient scholars such as or Adjunct's Kenneth James Gibson (who pairs soaring strings with bubbly percussion on "Disinclined To Vacate"). Thore Pfeiffer be found working with genre mainstay Leandro Fresco on opener "Splinter", crossing the growth rings of the Pop Ambient family tree with a subtle, atmospheric collaboration. Another welcome return to the roster, Jörg Burger dusts off his iconic Triola project last heard on Pop Ambient 2013 (KOMP 103CD, KOM 269LP, 2013) with the floating, echo-drenched cut "L'atalante". After making his Pop Ambient debut on 2017's instalment (KOMP 135CD, KOM 365LP, 2017), Yui Onodera continues his exploration of deep, intricate string sounds -- compelling material that shows the Tokyo-based musician and architectural acoustic designer as a strong addition to the Pop Ambient talent pool. He's joined by the two latest recruits to the series, both well-established artists in their own right: techno provocateur T.Raumschmiere flexes his drone muscles on the elegiac "Eterna", while pedal steel guitar maestro Chuck Johnson creates expanding sonic spaces on the meditative "Brahmi" -- a uniquely immersive cut that draws from the idiosyncratic country post-rock he established on his acclaimed Balsams full-length released in 2017. CD version features Magazine's Jens-Uwe Beyer and Max Würden & Thore Pfeiffer.

"Kye is proud to announce the release of Absence, the new LP by Maths Balance Volumes. Side A presents material recorded live at the Arts Center of St. Peter, Minnesota as part of Free Form Freakout's 'An Evening of Experimental and Improvised Sound' (04/21/17) while Side B gathers unreleased home recordings from the previous decade. Visionary cassette-based constructs with enough crude mechanics and smudged internal logic to delight the corpse of Arthur Pétronio. Edition of 250 copies."

"Kye is proud to announce the release of HH the new LP by Gabi Losoncy. HH bundles two sides of psychologically dense nothingness into one perfectly realized whole. Clear vinyl. Losoncy-designed packaging. Final Kye release. The coffin lid comes down on the rainbow. Edition of 300 copies."

Left Ear Records re-introduce another ten lost tracks from Nicholas Georgieff and Virgil Work, St Louis's basement electronics duo Workdub. The release spans material from 1989-95 and includes recordings from their sole LP (1989) and both cassette albums (released in 1992 and 1995). Workdub's music hardly fits into a vacuum and some might even say it's otherworldly. Tracks like "Reach For The Stars" and "Lunar Module" reflect dreams of space-age exploration, all the while their investigations into drum machines, synthesizers, samples and digital FXs matched with their organic live instrumentation work to create a unique atmospheric dubbed-out sound.

Seven years into its celebrated journey, Life And Death assembles its third and most adventurous compilation to date: Displaced Soundtracks. For the first instalment in a new series, DJ Tennis has given free rein to some of his most trusted contemporaries, enabling many of today's most respected dance music producers to display their hidden talents as composers. Gathering music from a long-aborted film, the collection stands as another bastion of Life And Death's perpetual evolution. Duncan Gray embraces dissonance, Black Merlin, Appleblim, and Artefakt go interstellar, and Fango channels post-punk squat music. Hades Rocket showcases the expertly-sequenced synth work that has graced Simian Mobile Disco's illustrious career, while Redshape revisits all the right sides of '80s wave and library music. Danny Daze and synth-savant KiNK embrace non-standard tempi with great success, while Axel Boman delivers sitar-laced gospel-house without a bass drum. Elsewhere, your favorite producer's favorite producer, Stimming, teams up with pianist Lambert and the pair learn to fly. Inspired and challenging, Life And Death ventures into their eighth year confidently, constantly evolving without compromise.

Girlfriends And Other Machines is another distinctive work by mostly undiscovered Berlin-based artist Rhytch displaying his unique dirty and soulful sound. The six-track EP varies from edgy deep house to weirdo krautrock reminding one of the genre's roots, while sounding like a legit fresh reinterpretation. The EP is complete with an outstanding Marbod remix, which is going to make people snap with its flickering distorted 909 hats woven into one of his typical psychedelic house pads, creating an irresistible groove and atmosphere.

A few years ago the people behind Mayway Records purchased a huge collection of CDs at the Belgian public service broadcaster VRT. In one fell swoop, this batch of CDs gave an extensive overview of the Belgian music landscape between roughly 1990 and 2010. Mayway Records decided to launch the Belgian Nuggets 90s-00s compilation series, collecting obscure Belgian tracks of superior quality dating back to that specific period: forgotten singles, B-sides, album tracks, and demos. In the late '80s and early '90s, home-grown Belgian talent and quality was starting to make some serious waves on the international scene, turning Belgian music into a hallmark of quality. dEUS paved the way for many other Belgian bands so naturally they had to be included on Vol. 1 of Belgian Nuggets 90s-00s: B-side "My Wife Jan", with a killer riff, is a hidden gem. Other names that will ring a bell include Wizards Of Ooze (vocals by Zap Mama's Sabine Kabongo), Elisa Waut (previously unreleased track from 1999), and Daan and Herman Gillis (inventor of the Sherman Filterbank) with their electropop project Volt (1994). Still, these established artists are just the tip of the iceberg. Wonderful rock songs by Two Russian Cowboys (risen from the ashes of Ugly Papas), SeXmachines (with Danny Mommens from Vive La Fête and dEUS) and tracks by Walloon bands Monsoon and Starving. The more electronic contributions by Nid & Sancy (sounds like early Chemical Brothers), Airlock, and de portables' nine-minute synth-post-rock masterpiece "Haut Gay" also ooze international class. Squeaky clean Britpop is served up by The Beautiful Babies with producer Martin Rushent on backing vocals. Ethereal synthwave by Kolk, while Pop Machine calls to mind the very best of Françoise Hardy and Brigitte Bardot. Peeters & Angst (Aroma Di Amore) and The Same (with Anton Walgrave and Aram Van Ballaert) take more of an arty approach and they do an exemplary job of it. The two closing tracks, Maxon Blewitt's Americana gem "Mexicali" and the very atmospheric "Psychologica" by Gèsman, will rank among the best songs you've never heard. In addition to a careful track selection, no effort was spared in terms of visuals: the cover photo is courtesy of Magnum photographer Harry Gruyaert. Tim Broothaers (of Zeal Records) is responsible for the overall design. Also features Thou and Prediker. Includes detailed liner notes of each track. CD version comes in three-panel digisleeve.

C.A. Quintet's 1969 album Trip Thru Hell is one of the holy grails of late '60s heavy psych rock and certainly deserves to be rated this way by fans of heavy rock. What awaits you here was recorded live, two years after their cult debut. The record starts with an unusual Beatles cover "And Your Bird Can Sing", originally from Revolver (1966). You do not even realize it is that song until you hear a familiar passage. The C.A. Quintet turned it into a groovy, smoking hot, organ-driven power rocker with a melodic edge. With the second cover tune "Badge", originally performed by Cream, they stay closer to the original, but play it with an increased power level. Next is "Bayou Jam", a lengthy, heavy rock song with psychedelic organ sounds reminiscent of Iron Butterfly. If you cross them with Blue Cheer in their prime gives you a better idea. There is even a killer drum solo section in the middle of the song. "4am In New York" is another mid-paced, stomping heavy groover with a pounding approach, simmering guitars, and roaring organs backing up the furiously distorted guitar. The vocals on the other hand have this light-weight, west coast, flower power pop appeal. "Wild Child" is a sleazy acid blues rocker and takes you a few years back. It is obvious they loved bands like Cream, Jimi Hendrix Experience, and Mountain. "Country Boy" has a southern rock flavor -- a well-written power rock tune with some psychedelic elements. The colorful, jammy middle section and the hard-driving bass and guitar interplay make this a kick ass anthem for its time. And last but not least is "Fresh Garbage Jam". More than ten minutes in length, this is heavy and fuzzed-out psychedelic jam rock at its best with furious guitars and a relaxed atmosphere. The sound is great, as clear as it can be, powerful and vivid, better than some of the studio recordings back then. What more do you want? If you love the underground side of US hard rock, like Josefus, Fresh Blueberry Pancake, and Stonewall, than this is the thing for you.

Masters Of Disasters are T.Raumschmiere and DEADBEAT. 20 korns... 17 Jaegermeisters... Where the fuck is the tobacco? "We go through 2 lighters a day." When and why the fuck did everyone lose their sense of humor? Fuck this shit. Is this going to work on the radio? Fuck it... New studio. Old friendships rekindled. No expectations. Love for days. Still techno. Built in fucking Utrecht of all places, on a foundation of wobbly Dutch bread. Deeply weird. If only it were that simple. When the going, gets weird, the weird turn pro.

The Catalan duo present Drawn By Sea. "Solstici" (Solstice) is an urgent dancefloor winner with an acidic flavor to the second half. It features moody bass surges and golden keys. "Nuit" is calm yet powerful. Its strength comes from emphatic percussion and an addictive key refrain. "La Mer" is a deep journey inspired by the sea. Waves of aquatic keys are joined by expansive strings, textured percussion and subtle bass hits. "El Pas Del Temps" rounds off the release with a melodious synth driven track. The synths are backed by live overlaid percussion, shaken keys and a moving bassline.

Bewitching avant-pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Aside from being the name of an influential Tokyo-based duo, Tenniscoats represents fun, artistic freedom, experimentation, and inclusivity. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in. During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organizing, but also to invite Saya and Takashi to a small apartment studio, together with Mat Fowler (Jam Money), and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days. Tenniscoats are known for their collaborations -- some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair, and many others. Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. "Every morning we'd all share breakfast, chat, and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich." While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat, and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains, "a melody would begin, and slowly, each of us -- in our own time -- would find our way into the music. Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery." "Nearly everything was recorded live," agrees Markus, "playing and singing together in one room with piano, guitars, percussion and some keyboards." The collaborators came from Germany, Japan, the UK, Greece and beyond. From the tender beauty of Markus's "River River" and Saya's "Mikan" to the electro-Merseybeat of Tenniscoats' "Nambei", and the half-crazed pianica-reggae of "Shuti Man", the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time. CD version comes in a six-panel digipak.

Music From Memory present a reissue of Dub Oven's self-released, 1983 EP Skin 'N' Bones. Pioneers in the post punk industrial and new wave scene in '80s San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met in December of 1982, and enlisted soul vocalist Celeste Miller for this EP. All three tracks embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Utilizing analog electronics and instrumentation, the record draws on elements of dub, new wave, soul, and funk to create an uncategorizable sound. Produced by Marco Perry (Björk).

"Keeril Makan (b. 1972) composed his longest instrumental work to date, Letting Time Circle Through Us (2013), on commission for the New York City-based ensemble Either/Or, with whose musicians Makan has worked intimately over the course of many years and on several projects. The larger trajectory of Makan's musical explorations has not been a linear one, so this close collaboration was invaluable in arriving at the final recorded realization of the project. A near-constant in Makan's work is his use of the power of expectation and disruption via the establishment, continuation, variation, and interruption of musical cycles, whatever their content. Repetition and recurrence, periodicity -- whether of rhythm or of complete musical fragments -- change things, are capable of completely upending the listener's expectation of the syntax and flow of an idea, and thus of its expressive significance within a piece. Related to this are parallels between musical periodicity and the cycles we experience in life -- sunrise/sunset, the phases of the moon, the seasons, and other, including perhaps more personal patterns -- that are reflected explicitly in Indian and Indonesian musical traditions. These patterns or recurrence are acknowledged, at least obliquely, in Letting Time Circle Through Us, Makan's most direct and extended engagement with cyclic structures and periodicity. To quote his brief description of the piece, 'The friction between two contrasting types of music creates the emotional journey of Letting Time Circle Through Us. From the foundation of a single note, stable music emerges that repeats throughout the piece. Between these repetitions, singular, novel musical events occur which contrast with the initial stability. Over time, these singular events darken, while the repetitions of the opening music strain to move past the stressful interruptions. Eventually the desire for a return to stability merges with the reality of continual change, and the tension of the piece dissipates.' "

"George Lewis (b. 1952) combines an astonishing level of creativity with trenchant critiques of many traditional conceptions about experimental music. The four compositions on this album reference a wide range of ideas, from rhetoric in Ancient Rome to actor network theory, and the album's eponymous composition finds its grounding in the concept of the 'assemblage,' (or agencement in French) a pragmatic, material, non-teleological approach to composition. Among the album's compositions, 'Mnemosis' (2012) and 'Hexis' (2013) foreground repetition, and feature hypnotic patterns with striking sonic surfaces. 'Mnemosis', scored for flute, clarinet, violin, viola, cello, piano, and a percussionist, features repeated cells of dissonant interlocking lines that take shape as elaborate, even baroque loops. The overall impression is one of a clock with several hands turning unpredictably in different directions, triggering an oddball circus of sounds, recurring asynchronously, sometimes raucously. 'Hexis' (2013) appears as something of a slightly smaller and shorter sequel to Mnemosis, and is scored for the same band of instruments, but without viola. By comparison with 'Hexis' and 'Mnemosis', 'Assemblage' (2013) is more energetic, even chaotic. Written for a 9-piece version of Ensemble Dal Niente, Lewis describes Assemblage as having a feeling of pushing ahead all the time, 'or turning a wheel.' It can give the impression of an urban crowd bustling in every direction. Or a rising and falling activity of bouncing against the interior of a box that nonetheless manages to contain a certain sense of entropy. The unpredictable interplay between human and material agencies is an explicit theme of the piano and violin duo, 'The Mangle of Practice' (2014). It explores how practical relationships, decisions, and mediations structurally disfigure the elements in a given situation. Over the course of minutes, one hears episodes of internally consistent materials that are set in motion like windup toys, until a cut occurs, and a new sonic palette unfolds. It gives the impression of a single sonic object with over a dozen sides, being gradually flipped from one side to the next."

"'I am doing what a woman can hardly ever do . . . ,' wrote British world traveler Isabella Bird in an 1872 letter from Hawaii. 'And I can fall, I can fall into anything.' San Francisco Bay Area composer, acoustic bassist, and bandleader, Lisa Mezzacappa used those lines -- and more from the writings of Bird and other women adventurers of the 19th and early 20th centuries -- to fashion lyrics for her ten-part 'panoramic song cycle for improvisers.' Sung by the extraordinary vocalist Fay Victor, those two lines might also be taken to reflect Mezzacappa's place in the world of progressive and avant-garde jazz. With Victor's voice at the core, and musical ideas percolating up from the texts, Mezzacappa tailored the open-ended structure of Glorious Ravage to the gifts, sensibilities, and personalities of the individual musicians. That required her to develop a bigger compositional framework than she had ever built before, and one that could both reflect and refract the multifaceted stories and personas of the women she met in her research and meet the challenge of keeping the composition, in her words, 'open to the kind of collective wisdom that emerges from any given musical community.' Mezzacappa has written that initial inspiration for her work 'comes from a messy, unfocused, overwhelming, brilliant, seductive, and terrifying pool of sensations, ideas, gut reactions, intellectual concerns, moral ambiguities.' From that pool has bubbled up something that retains many of those qualities, but that also manifests focus, chemistry, communication, and an emergent sense of both order and transcendence. Glorious Ravage is a musical exploration of what is possible. Soaring with it can trigger an experience of the sublime, similar to the altitude sickness that Isabella Bird, Ida Pfeiffer, and Annie Smith Peck fell into during their lofty adventures, an ecstatic mind state South Americans called veta or soroche. When Bird wrote in her letter from Hawaii, 'This is the height of the last and most glorious ravage,' she could not have foreseen that Lisa Mezzacappa would bring us another of equal magnificence."

"'The composer is therefore enjoined to accomplish the following: she must establish himself as a major instrumentalist, he must not wait upon a descending being, and she must become an interpreter, not only of her own music and career, but also the music of her contemporaries, and give a fresh new view of the known and unknown classics.' --Julius Eastman Just when you think you are grasping the breadth and quality of the music of Julius Eastman (1940?1990), a recording such as Julius Eastman: The Zürich Concert shows up, and you have to go back and reassess his work and wonder what will show up next. This recording is from a 1980 solo seventy-minute improvisatory concert in Zürich, a cherished cassette made by a friend of Eastman's, who recently realized its uniqueness and decided that he should share it. The Zürich Concert was performed on October 25, 1980 in the Aula Rämibühl gallery. Eastman was in Europe participating in The Kitchen tour, and a Swiss friend, Dieter Hall, a painter who had been living in the East Village, arranged the concert. Hall recorded it on a cassette machine, so there is the inevitable gap when the tape had to be turned over, as Eastman played non-stop for seventy minutes. Simply put, The Zürich Concert is a revelation. Listening to this recording, one is overwhelmed by the cascades of sound, the power of the playing. It almost seems as if the piano will start bouncing across the floor like an out-of-control washing machine. But there is also space and delicacy in the playing. As a whole, the music never flags, and your attention doesn't wane, as you are drawn in by the intensity of the playing and the coherence and wonder of the music being made."

Nicolas Bougaïeff presents his new EP on seminal British imprint NovaMute. Cognitive Resonance explores elements of acid, gabber, and techno through a compositional lens, drawing on the artist's love for avant-garde forms and long-standing relationship with the electronic music community. The title track lays out long, expansive phrases and warped crescendos to create a disorienting structure, whilst distant harmonies, distorted kick drums and shattering effects merge into a hypnotic form on "Truthful Hyperbole". Lastly, "Fake News" mangles a sense of rhythmic familiarity, disrupting the 4/4 beat with a complex meter and sinister melody.

Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 releases with her debut album Pariah. Jana Rush received attention for her mind-bending drum acrobatics on 2016's MPC 7635 EP, also released by Objects Limited. Jana started DJing aged just 13, releasing her first record on Dance Mania back in 1996, but having a hiatus from music between 2000-2013. With Pariah, she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz, and house, developing her sound on from MPC 7635. Pariah kicks off with "Midline Shift" whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims, creating a shimmering robotic effect. Moving on, the frantic "Beat Maze" confuses the mind with white noise rushes and interlocking snares. Changing the scene, "Divine" is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with "??? ??", whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of "Break It" give one room to breathe before the croaking bass and distorted acid of "No Fuks Given". "Old Skool" is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both "Rapid Fire" and "Acid Tech 2" are bangers, hitting you deep in that sweet spot. Jana brings it back down with "CPU"'s computer noises and sub-bass hits. "Chill Mode" gives time for reflection after all that fire, but it's no ambient track -- there's still that Chi-Town vibe. Pariah finishes with "Frenetic Snare" whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

On Loop marks its third year with the Volume 3 compilation curated by Moxie. Sampler 1 provides four tracks from the main compilation, featuring exclusive productions from Shanti Celeste, Traxxploitation, Benedikt, and Admin. Kicking off the compilation with deep bongo cut "Moved", followed by Traxxploitation's exploration of jazzy Chicago house in "Honey Pot". On the flip, Benedikt switches things up with high-octane track "Mnemonic", before Admin winds things down with dreamy percussive number "Space Cadet".

On Loop marks its third year with the Volume 3 compilation curated by Moxie. Sampler 2 provides four tracks from the main compilation, featuring exclusive productions from Throwing Shade, Sandboards, Addison Groove, and Fotomachine. Throwing Shade kicks off by laying down celestial melodics and a dark low-end on "Floors", before New Zealand duo Sandboards provide paddrive top "Miss Brimstone Dub". Addison Groove's jazz-soaked chugger "SOMA" opens the B side, leaving Fotomachine to close proceedings with hazy groove-filled cut "IBIDUN".

The Golden Filter on the release: "The EP starts with the song 'End Of Times' which is a dramatic, Shangri-Las influenced take on feeling powerless in a chaotic world . . . Happiness can be found in analog reverb. This is followed by 'Serenity', a hard and tranquil meditation of past + future. Side two leads with 'Heart Control', with a slight nod to Pink Floyd. A nine-minute plea to ourselves to keep it all focused and under control... The EP closes with 'Darkness Falls'. The lyrics for this came from an apocalyptic dream that Penelope had."

Germany's Mathias Schober, head honcho of Berlin's Lossless label, on the release: "'In A Certain Way' features a 808ish beat with a main sequence coming from a tiny monophon synth called Atmegatron . . . 'But What Rules Are Made For' is the same setup but the sequence is a 101 and so are all the washed out FX synths. On 'Is To Break The' I went a different route, I had the dub, delayed stabs synth first as I was messin' with my Moog and a Space Echo..."

Luke Slater, Steve Bicknell, and Dave Sumner (Function) are LSD. Originally planned as a one-off closing set at Berghain in 2016, the trio develop their brand of lysergic machine music with their debut three-track 12" Process. "Process 1" immediately introduces overdriven and multi-layered kicks and hats, while a squelching synth-line writhes between distant sirens. "Process 2" picks up at a similar pace within a tunnel of high-pitched drones and warning signals panning across the stereo image. On "Process 3", a more spacious sonic landscape is soon filled with the bleeping sounds of emergency before veering off into more subdued territory.

Coming together over three years since his critically acclaimed last album (2013), Hyetal completes his transformation from off-kilter dance music producer to futurist pop visionary on Youth & Power. "Previously my approach to writing music was very rooted in escapism," says David Corney, aka Hyetal. "I began experiencing a sense of detachment in my life which led me to question how healthy this approach was. I wanted music to help me feel connected again." Wrenching his music free from the "confines of computer grids" and pushing melody to the forefront, Youth & Power's texturally rich, psychedelic palette is littered with live played synths, electric guitars, drum machines, processed noise, and "some under-loved '70s home keyboards" recorded at Hyetal's South London home studio. "I'd describe it as experimental pop music," says Hyetal, "the sound is in part a return to music I was listening to as a kid, more song- and instrument-based." Youth & Power is Hyetal's debut as a vocalist, also scrapping samples in favor of live instrumentation and hook-laden songwriting laced with myriad influences. "I took some time out to teach myself how to sing using an app on my phone. At first I found my vocals worked best for me when there was some distance from the natural sound of my voice so everything was abstracted through a few different processes." he explains, "As I became more comfortable singing I decided I wanted to contrast this approach and use some natural sounding vocals that embraced the imperfections." The album strikes a balance between robotic Kraftwerkian simplicity and soulful organic pop, contrasting the various pitch-shifting and abstracting vocal effects with sharply concise lyrics. Semblances of Hyetal's origins in Bristol's early dubstep movement are still present too, deep inside the album's meticulous rhythm beds. Elsewhere, chiming retro keyboard notes and drum machine beats at times recall the likes of Yellow Magic Orchestra contrasting against waves of guitars and noise which bring to mind the influence of Bauhaus and other post punk experimentalists. Written as a form of catharsis for Hyetal in his search to return his music from detachment, Youth & Power seeps a sense of hope. "I found from a distance the most immediate workings of humanity can appear extremely brutal," says Hyetal, "but when looking through this lens you miss the beauty that happens in the moment."

LP version. Coming together over three years since his critically acclaimed last album (2013), Hyetal completes his transformation from off-kilter dance music producer to futurist pop visionary on Youth & Power. "Previously my approach to writing music was very rooted in escapism," says David Corney, aka Hyetal. "I began experiencing a sense of detachment in my life which led me to question how healthy this approach was. I wanted music to help me feel connected again." Wrenching his music free from the "confines of computer grids" and pushing melody to the forefront, Youth & Power's texturally rich, psychedelic palette is littered with live played synths, electric guitars, drum machines, processed noise, and "some under-loved '70s home keyboards" recorded at Hyetal's South London home studio. "I'd describe it as experimental pop music," says Hyetal, "the sound is in part a return to music I was listening to as a kid, more song- and instrument-based." Youth & Power is Hyetal's debut as a vocalist, also scrapping samples in favor of live instrumentation and hook-laden songwriting laced with myriad influences. "I took some time out to teach myself how to sing using an app on my phone. At first I found my vocals worked best for me when there was some distance from the natural sound of my voice so everything was abstracted through a few different processes." he explains, "As I became more comfortable singing I decided I wanted to contrast this approach and use some natural sounding vocals that embraced the imperfections." The album strikes a balance between robotic Kraftwerkian simplicity and soulful organic pop, contrasting the various pitch-shifting and abstracting vocal effects with sharply concise lyrics. Semblances of Hyetal's origins in Bristol's early dubstep movement are still present too, deep inside the album's meticulous rhythm beds. Elsewhere, chiming retro keyboard notes and drum machine beats at times recall the likes of Yellow Magic Orchestra contrasting against waves of guitars and noise which bring to mind the influence of Bauhaus and other post punk experimentalists. Written as a form of catharsis for Hyetal in his search to return his music from detachment, Youth & Power seeps a sense of hope. "I found from a distance the most immediate workings of humanity can appear extremely brutal," says Hyetal, "but when looking through this lens you miss the beauty that happens in the moment."

A 17-year-old boy is at the odds with himself and the world. Pretty normal. But the coming-of-age-story Es War Einmal Indianerland is not normal: it's exceptional. The narration is virtuosic, just as the attendant nominated novel by Nils Mohl who also wrote the screenplay -- in collaboration with Max Reinhold. A psychedelic city-western! Charged with pictures full of symbolism that are composed into a hypnotic whirl by Ilker Çatak, who won the Max-Ophüls price and who has been distinguished with the student Oscar for Sadakat (2014). Another highlight: the outstanding cast. Newcomer Leonard Scheicher as protagonist Mauser in between Jackie played by Emilia Schüle, and Edda played by Johanna Polley. In additional roles there's Clemens Schick as Mauser's father, and Joel Basman as Mauser's pal Kondor. Equally exceptional, thrilling, and inventive as the forthcoming film, is the soundtrack of Es War Einmal Indianerland. The soundtrack of Acid Pauli, aka Martin Gretschmann (The Notwist, Console) plays a central role and originates from the close collaboration between Acid Pauli and director Ilker Çatak. Çatak on the collaboration "When I confirmed the film project, I was at that time constantly listening to Acid Pauli's music. Everytime I looked at the screenplay one of his mixes were playing. So I thought: it would be awesome if the film was accompanied by this kind of music." Acid Pauli's music, as proved on his BLD album (OUIE 003LP, 2017), is as eclectic and adventurous as Acid Pauli himself: from dystopic, carnivalesque moods via moments of high intensity to deep melancholia and fragile atmospheres -- boundaries are being teared down. Sometime psychedelic and far-out, sometime focused, catchy with one eye on the dancefloor. But never expectable; a musical work for the adventurous. This was the basis for a close collaboration, a joint journey to Mexico and the fascinating soundtrack of an exceptional film. "His oeuvre is much more than the stuff he made as Acid Pauli. And that's what he offered me -- it was like you're going to a lake but instead you see an ocean." says Ilker Çatak. "He always grasped what I was looking for. The soundtrack is a mixture of his old and new tracks and music of artists that he knows." "Anan" features Miri.

Irish producer Niall Mannion, aka Mano Le Tough, releases his first record on Pampa, Ahsure EP. "Your Heavy Head" is the most dancefloor-focused track of the EP. Mano combines crisp, live sounding percussion with various intertwining synth lines and bell chimes, establishing a gentle, yet pulsating groove. "Kitedub" on the flip settles neatly somewhere between modern house music and weirdo pop. Mano's stirring vocals make up the centerpiece of the track, as strange sounds swell and subside. "Ahsure" hears Mano's lyrics sit above swirling ambient sounds and they convey a raw honesty that is palpable.

The fourth release on Peach Discs is a debut EP from Toronto's very own Ciel, formally known as Cindy Li. She's been DJ and running parties for some time now, so it's about time for her first dreamy wicked 12''.

More rudeness for your pleasure from the co-founder of the Permanent Vacation kingdom, Benjamin Fröhlich. One year after the well-received first Rude Movements EP (PERMVAC 151-1EP) and the accompanied remixes Benjamin Fröhlich returns for another round. The second part of the Rude Movements series brings you further adventures into the world of dance music from the past and present. It covers percussive space trance, roaring synth jams to stab-driven and flute-infused house workouts and dubby breakbeat steppers, all happily dancing under one roof.

Multi-faceted Irish musician David Kitt, aka New Jackson, returns to Permanent Vacation in full force, riding high from releasing his critically acclaimed debut album From Night To Night (2017), which was filled with rich melodies, dusty synth pop, late-night boogie, and cinematic deep house. New Jackson tightens the strings and brings back the bounce with two rather floor-friendly tracks that are still deeply rooted in the unique New Jackson universe. To round things up "Feather By Feather" is a love-trenched early morning anthem, which is the perfect soundtrack for doing all things that are nice in this world.

TB is the alias of Permanent Vacation label co-head Tom Bioly. His releases as TB so far are Invitation To Love on John Talabot's Hiverned 10" imprint (voted one of the best 10" releases by UK Fact magazine), and City Girl on Permanent Vacation (PERMVAC 138EP, 2015), of which German Groove magazine called "... entirely superb ...". Heartbreak Hotel is a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. Acid bobbles, distorted strings, and echoed guitars are mangled and layered on machine beats and disco drums.

Piano: Hot Chip frontman Alexis Taylor pares everything back to just piano and voice for an intimate record of songs, reinterpretations of his own writing, and a selection of favorites, both well-known and unheard, by other artists. Recorded at Hackney Road Studios by Shuta Shinoda, Piano invites the listener to be privy to a very private recital, with Alexis's vocal and piano captured live and up-close, preserving each beautiful moment. Alexis on the release: "I had always wanted to make a loose and to some extent unplanned piano record -- partly inspired by an un-made but suggested Alex Chilton solo piano LP that a friend of mine told me about 15 years ago or so. . . . The idea with this record was to choose songs of my own and others that were personal to me, and to document live performances which were intimate and unadorned. I wanted to reduce everything to the barest elements, record a great piano well and do as little as possible to the recordings EQ or effects-wise."Listen With(out) Piano: Alexis Taylor's Listen With(out) Piano is a companion album to his 2016 record piano, Piano. Listen With(out) Piano features new versions by artists including Papa M (David Pajo), Green Gartside (Scritti Politti), Spring Heel Jack, Beatrice Dillon, and Brian Degraw (Gang Gang Dance), which can be played on their own, or at the same time as the songs on Piano to create a brand new listening experience. The album features the work of eleven of Alexis's favorite musicians, handpicked to create new tracks and designed to work in response to the songs on Piano, the third solo album by the Hot Chip frontman. "My brief was both very wide open and very specific, and part of the pleasure for me, and now hopefully for the listeners, is to see how everyone responded so differently to the task," Alexis explains. "The results are truly amazing, and here you have a new album that works both as a kind of electro-acoustic ambient companion piece to Piano, and as a series of musical clothes to be put onto the deliberately bare record I released." Also features Lung Dart, Mammalien, Susumu Mukai , Betsy Taylor, Rupert Clervaux, and Jennifer Herrema.Exclusive artwork by Oliver Payne; Designed by Joe Gilmore. Comes in a gatefold sleeve.

On Latino Body Music Vol. 02, Sano continues to explore his musical heritage connecting the dots between tradition and news. For this record he picks up the "Champeta" style that had its origin in the streets of Colombia. The mix of repetitive rhythm patterns and chants performed by local legends like Hernando Hernandez is an integral part of the huge soundsytem culture that takes place in the streets of Cartagena. By adding small hints to contemporary western club culture like a classic house piano, or an acid baseline Sano reinterprets the tracks without losing any of the original hypnotic flavor.

Sean McCann on Ian William Craig's Durb?: "Ian shared this live performance with me in January of 2017, while I was living in London for work. I fell asleep countless times whilst listening to this, day and night. After some arm twisting Ian agreed to let me publish it. He had not planned on releasing it officially. Durb? embodies the most elegant and meditative aspects of Ian's music. Live, Ian's music is able to stretch and fold and soak. These long-form takes show how purely structure and melody rotate within him. In the fall of 2016, Ian performed these recordings in a 14th-century Latvian church. This environment kissed Ian's cheek that evening, and he sang in top form, ascending into the rafters." Six-panel wallet encasement, with photography by the artist; Edition of 200 (one-time pressing).

Joan Of Arc is a project conceived by Eric Schmid and Sean McCann, running in line with St. Francis and St. Paul. This series of CD and pamphlets, writings bounded together with unbounded audio elements. Schmid and McCann roped in professional vocalist Christina Stanley to sing the last piece, which is a tip to Ulises Carrión's "Hamlet, For Two Voices", pulled from Friedrich Schiller's Maid Of Orleans (1801). Matthew Sullivan dusted off his pain tongs and sent over some sounds to re-actualize the past in fine fashion. This album is a conversation with/examination of the past. An epic poem, The Story of Joan of Arc (1796), by Tim Weidmann is included, which is impressively deep and detailed and beautiful -- along with a philosophical lead by young writer Jack Kahn, softly read by Mattea Landry as the first track of the disc. CD housed in a 50-page pamphlet; Edition of 200.

This Floating World is the newest solo work by Roger Eno since 2008. This Floating World holds rustic and melancholic piano works, as grey and mossy as a country cottage. Recital label head Sean McCann on Roger Eno: "I hear the LP chiming from the dark corners of a pub, soaking in the damp wood like spilled ale. I first fell in love with Roger's music through his 1985 debut album Voices, which cradled many rainy and caffeinated mornings when I was living in San Francisco years back. He played on the infamous Apollo - Atmospheres & Soundtracks (1983), and recorded a theme for the Dune soundtrack (1984). String pads and veils of reverb pour through those processed tracks. I later rediscovered Roger Eno in a different light with his 1997 album The Music of Neglected English Composers. A playful and beautiful album of chamber pieces guised as the works of forgotten (and fabricated) composers from the past century. His compositional sensibilities remind me of my favorite recent English composers... Hobbs, White, Bryars, Skempton, etc. This Floating World feels like a hybrid of these two styles, a melding of both his ambient and 'prelude'-esque compositions. Warm and feathered furniture music. In our communication Roger has been a real charmer, ending every email with 'Roger and out.' A curious fellow, with a knack for tracing the understated beauties of this world." Includes brief stories written by Roger in a 12-page booklet, alongside his photography. Edition of 500.

Trajectories is the second full-length album by Michael Vincent Waller, featuring pianist R. Andrew Lee and cellist Seth Parker Woods. The album is presented on Sean McCann's Los Angeles based label, Recital. Michael Vincent Waller is an American composer based in New York City. His music has been described as lyrical and introspective, drawing inspiration from impressionism, post-minimalism, and world music. The work situates these familiar elements within decidedly unconventional and individual frameworks. Waller's practice has been cultivated through private study with La Monte Young, Bunita Marcus, and with Elizabeth Hoffman as an undergrad at New York University. He has since collaborated with a number of noted soloists and ensembles including S.E.M. Ensemble, Ensemble Dedalus, String Noise, and members of the FLUX Quartet. In 2015, Phill Niblock's XI Records launched Waller's acclaimed two-disc recorded debut, The South Shore (XI 136CD), which compiles a number of solo and chamber works spanning 2011-2014. Pianist R. Andrew Lee is renowned for his performances of minimalist work. He has released 12 albums, predominantly long-form piano recordings, on his label Irritable Hedgehog -- including November (2013) by Dennis Johnson, which was selected by Time Out New York as the best classical recording of 2013. Cellist Seth Parker Woods has established a diverse career that straddles the worlds of classical, contemporary, electronics, and performance art. He worked with artists ranging from Heinz Holliger, G.F. Haas, and Klaus Lang to Peter Gabriel, Sting, and Aldo Tambellini. Recital is a label started by Los Angeles-based composer, experimental musician, and audio engineer, Sean McCann. The label is dedicated to modern classical and experimental music. Established in 2011, Recital has released work by Annea Lockwood, Loren Connors, Daniel Schmidt, Ian William Craig, and Sean McCann. The CD edition includes photography by Phill Niblock and liner notes by "Blue" Gene Tyranny.

After a twenty-year hiatus, '90s alt-rock legends Bivouac announced their return with a vinyl-only single release. Features one new song ("Sweet Heart Deal"), and one reworking of a track from the band's heyday ("Deep Blue Sea Surrounds"). Signed to independent label Elemental following their first gig in 1992, the band were an indie success story, finding underground popularity with their British take on the Seattle grunge sound. A slew of singles led up to the release of their debut album Tuber (1994) after which the band were signed to Geffen and released Full Size Boy (1995). Pale green opaque vinyl.

One year after the debut album Debasement Tapes (RY 002LP, 2016), Unqualified Nurse Band return with their second album, Trashland. A six-song, thirty-four minute sprawling head-fuck that once again pummels through the history of popular music, only this time UNB truly let the weird and wonderful seep into their consciousness. With more than a nod to Pink Floyd at their psychedelic height, the MC5 at their dirtiest of lows, and the Clash at their "nothing can touch us" punk rock-est, this album will blow both your mind and your speakers. "They traverse genres and create a sonic masterpiece." --Louder Than War

New Yorker Anthony Parasole provides three powerful, dancefloor productions for Velocity EP. "Velocity" wastes no time with its supremely-tight drum programming, jerky bassline, and synth notes that spiral into space. "Bang" has similarly skipping percussion and a looped melody which reveals itself before the pulse beats on. The restrained, warehouse feel and human touch to the rhythm of "Hot Zone" explores the sweet spot between house and techno. His sonic voice between the two genres is founded on his wider influences, and the result carries a subtle funk, muscular beats, and a hint of NYC swagger.

Odd disturbances are about. Yes, definitely odd. Deep, carnal rumblings akin to the kind one only feels in times of great danger, or great reverence. The kind of hyper-intense inter-environmental buzzing that drives men to kill for no reason they can feverishly describe at a later period when the buzzing finally ceases, and their sanity returns with the cold, wet realization of the deeds they committed with their own god-given hands. Perhaps came into existence at the hands of Jim Haney at the Berklee College of Music in 2012. V is their fifth release, the previous four being self-released gaining infamy amongst listeners, and notably collaborating with Makoto Kawabata (Acid Mothers Temple), Cotton Casino (Acid Mothers Temple), Tabata Mitsuru (Acid Mothers Temple), Kenneth Topham (Giraffes Giraffes), Bryan Murphy (Man Man), Devin McKnight (Grass Is Green, Speedy Ortiz), Ben Talmi (Art Decade), Damo Suzuki (Can), etc. As Perhaps's discography grew, stories of the group's incredibly unorthodox and experimental methods of composition and recording began to emerge. With V, it appears as if their approach to recording and composition has changed very little by means of mystical influence and general mischief. The months in which the recording of V took place was certainly interesting; rumors began to emerge of the band's presence in the Himalayan mountains, presumably for the gargantuan natural acoustics Haney has notably mentioned as a key to Perhaps's recording process. While it is not entirely certain whether or not the group remained in the Himalayas for the entire length of the V recording endeavor, a certain cult-like attraction to seek their whereabouts became favorable amongst some diehards. The few who seemed to succeed on the trip returned with contrasting results. Those who were lucky returned in a perplexing state of enlightenment, divulging stories of mountains speaking great cosmic secrets, while others returned temporarily blind, or not at all. However, now that the album is finished, there is little left to do but go along for the ride, and while complacency seems the easiest way to approach the unapproachable, the daunting question still stands: How far did they go this time? One definite thing is for certain: V is done, and it's a doozy. No use for cardio or keto in preparation for this one, just light some incense, pour a Chivas, and buckle up. Or don't, it won't matter. Obi strip; 350gsm reverse board sleeve; Edition of 300.

On Moon Field, Rafael Toral breaks new ground, it is his first edition that moves outward, beyond the Space Program series. This collection of three extended and interlocking works, mark the beginning of a transitional period into a new phase. Building on the explorations of his almost decade and a half of work with the Space Program, Mood Field seeks a more open sensibility and integrates a range of new elements and new directions. These elements reposition the potential interplays of his chosen musical elements. "Moon Field was originally written for live performance by a configuration of the Space Collective 3," Toral explains, "It was with Ricardo Webbens on modular synths, Riccardo Dillon Wanke on electric piano and myself on electronic instruments. While working on it, the piece revealed a strange hovering quality, a kind of stasis. It's alive and awake, like all the recent Space Program music, but doesn't seem to want to go anywhere. The music wanted to be something very peculiar and I changed it a lot in response to that. It also revealed what I find a kind of nocturnal mood, as if we were listening to alien signals with satellites crossing the sky under the moonlight." Moon Field's middle section, "The Horizon", sees Toral entering a broader acoustic field. The piece weaves a fresh examination of the ambient music he worked on between 1987 and 2003 with the fabric of post- free jazz-inspired phrasing with electronic instruments. The results extend the free roaming aspects of the Space Program and mark out a distinctive and deeply personal approach to sonic atmospherics. This is the first step into a much larger, richer universe.Rafael Toral, born in Lisbon, 1967 has been intrigued by the potential of sound and the functions of music since he was a teenager. In the 1990s he created a blend of ambient and rock and recorded acclaimed albums like Wave Field (1995) or Violence Of Discovery And Calm Of Acceptance (STAUB 017LP, 2001). By the early 2000s, he decided to start something new and launched the Space Program, an ambitious long-term project exploring an approach to electronic music based on silence, through decision making and physical gesture, in a way inspired by post-free jazz. Performing solo or in numerous collaborations, he has been touring throughout the world. In 2014, he relocated to the mountains in central Portugal for a more sustainable life.

"I confess to being in a state of ceaseless awe when it comes to Tokyo guitarist, Ueno Takashi. I have had the pleasure to know Ueno now for well over ten years. In that time he has remained a source of constant curiosity and surprise. Just when I think I have the man pegged, he throws out some unexpected musical gesture that completely catches me off guard. Whether it be his work with Saya in Tenniscoats, or his almost endless stream of solo releases, many of which exist in very short run editions, his music typifies a tireless desire to explore. Recently Ueno's curve ball has been his project Off Strings with Vice Japan, where he talks to leading Japanese guitarists. It's an incredible series of interviews, which I heartily recommend checking out. The results have been quite extraordinary and his session with Haino Keiji a personal favorite of mine. Yet another pleasant surprise from this maestro. Over the course of his previous solo recordings for Room40, Ueno has tested very reductive compositional approaches. Each of the records has created a precise and unique approach to guitar. Sui-Gin, his first solo for us, almost ten years old (2008), remains one of Room40's most individual sounding recordings. It's a collection of alien tones, uneasy yet beautiful. To this day I still can't quite imagine how he drew so much harmonic richness from such a limited palette; one instrument and one pedal. Smoke Under The Water, a title I can only assume maintains at least a little humor about it, is easily the most beautiful record Ueno has made in recent years. Here, the lushness of his playing meets head on with his minimalist compositional heart. This record bares a close attention to detail. That is not to say it is fussed over or seeking some kind of state of perfection. On the contrary this is a record about performance, about taking a beautiful compositional idea and seeking to document it with the life and breath that is so critical to solo instrumental works. I implore you to listen to one of Japan's true masters of his craft." --Lawrence English, October 2017

From Nicola Ratti... "These recordings were made during a relatively long period of time, not continuously, over several months in my studio. Nothing was been planned in advance, not any idea of album or approach. Nevertheless I easily recognize myself in this material, moreover I recognize my working space itself. It's like taking a picture, or make a painting, of your personal room where all your stuff is well placed and, among them, their identities as sound sources and acoustic possibilities come into being. The room itself resonates ideally into the music even if, acoustically, nothing has been recorded in it. I believe there are records that you can name as an individual project with a clear identity or theme and there are others that are more like a treasure chest where you put the collection of what represent your best artistic development during a specific time on your path. This set of recordings is the later, a studio collection that summarizes the results of my experimentations of the past couple of years. Also, with this record, I got the chance of address some issues that aren't directly involved in the making of music itself, but that deal with my/our life. Specifically the problems and the consequences of our choices once we believe we could live as musicians/artist among a strictly capitalistic society. Waking up in the morning and going to the studio, without any particular deadline or imminent work that has to be done, or a series of concerts to rehearse, or whatever you do for living, sounds like a beautiful free time to create but actually it's the moment where you face more intimately your artistic life. It is not always nice. Sometime you force yourself, feeling guilty you're doing nothing even if you're so free to create, you chose to leave behind a professional identity thinking you won't attend an office anymore. Then sometimes you still face that introspective questioning along with that empty room you call a studio. This album is a kind of catharsis of that identity and the result of my days facing myself in my studio, trying to do something good and that it's worth sharing, winning this personal, but very common, struggle of the everyday. Musician and sound designer Nicola Ratti was born in Milano in 1978. He works with Giuseppe Ielasi whom he formed the project entitled Bellows.

All is lost, all is lost. Or is it? A poignant question from Pinkcourtesyphone. A haunting strain. A coat of gloss smeared. A scene recalled, a fond memory, a terrible lie in this new dark age of love. Suspended in that lush, lonely feeling, Pinkcourtesyphone implores you to hang breathless on the line, above the chandeliers in shimmering stasis that belie those desperate, shadowy passions underneath. A creak, a glance. Nothing is for certain anymore. That sentimental something echoed across corridors, valleys, crevices, and it was never true. That redundant physicality kept it suspended in the lens-trapped hearts of countless thousands. A limited edition. Seven excellent examples of negative mood music. Pinkcourtesyphone's artistry is all lustrous sounds. New meaning and beauty for... oh, you don't even want to know. The answer is buried under centuries of suffocating sweet tonalities we created. Just like romance, the mighty do fall with indelicate slices. Is it dark outside already...Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier. He is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and neo-modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Pinkcourtesyphone is a more emotional, dare one say musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrupy dream and strives to be both elegant and detached. Pinkcourtesyphone has collaborated with the likes of Cosey Fanni Tutti, Kid Congo Powers, harpist Gwyneth Wentink, AGF, William Basinski, and Evelina Domnitch. Chartier's sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism.

Younger Rebinds is a new project and imaginary band by the inimitable and unstoppable Benny Rodrigues. Maybe best-known for his Rod moniker and releases on Klockworks, Rodrigues embodies and keeps the candor, spirit, and curiosity that made techno music stand out in its start-up years -- and that's exactly what's on Retro7 EP. Retro7 EP makes the most of the classic 707 drum machine, gnarly synths, ambient soundscapes, pianos, and organs; Done in a way that is as much new wave, as it is electronic disco. Spread out over a double-pack with eight tracks, the Younger Rebinds hit the sweet spot between vintage DJ Hell aesthetics, Sterac electronics, and Trevor Jackson's "Metal Dance" dogma, if its choir were muted. Loud pressing and hypnotic artwork included -- Please don't look at it for more than five minutes.

An unidentified life source on the release: "We write to you with the conclusions of our investigation into the synthesized audio transmissions picked up by the deep space telescope at irregular intervals since 1986. After many years, we pinpointed the source of the ear-pleasing frequencies. They were being transmitted from a secluded building in 'Kawasaki', Japan. A key to their origin was found on the video-sharing site, 'YouTube'. When we visited the building, we discovered identical twins, huddled around a synthesizer manufactured by the Casio Corporation. The twins told us that their names were Satoshi and Makoto, and that the synthesizer model number was CZ-5000. We were still puzzled about the music we had heard, which was largely ambient in nature, positive in tone, and possibly extra-terrestrial in origin. Under interrogation, Satoshi and Makoto claimed that they had created every melody, drumbeat and musical phrase using this one piece of Japanese-made musical hardware. We doubted their version of events, so asked for a demonstration of their working method. Once they had shown us how they shaped, played, and sequenced sounds, we accepted that the transmissions we had received were indeed created entirely using the CZ-5000. Satoshi and Makoto said that the audio transmissions we were investigating had been mostly been created throughout the 1990s, under the influence of early Japanese techno, the Orb, YMO, Kraftwerk and 'lots of soul'. We asked to be provided with a collection of these transmissions, which had never before been made available to the public. Satoshi and Makoto kindly provided us with a compact disc, on to which was scribbled the code 'st006'. We believe it is in the public interest to make these remarkable synthesizer compositions available for wider research. We have therefore passed them on to the 'Safe Trip' organization. They will make suitable arrangements for public release."

In the space between expectation and surprise, you will find Dutch-Belgian acoustic-electronic piano trio De Beren Gieren ("The Bear Vultures"), providing robust evidence that gold can still be mined from the union of piano, bass, and drums. Based on the compositions of pianist Fulco Ottervanger, the trio use the power of improvisation on the quest for a new form and create a multi-layered, kaleidoscopic work of art. De Beren Gieren has been hailed as one of the hottest acts on the Belgian jazz scene and Dug Out Skyscrapers marks the band's fourth studio album. Raw energy, impressionist melodies, and complex structures are generated via piano, bass, and drums provoking polyrhythmic soundscapes with unexpected twists and sudden turns. With Dug Out Skyscrapers, the trio trace back the essence of what characterizes their sound. An electro-acoustic approach weaves a spherical world of sound with added dynamism, humor, and more than a touch of melancholy, projecting its listeners forward into the future. De Beren Gieren hold the unique ability to change mood suddenly in a way that constantly holds the listener's attention. This is a sound full of joy and vitality and confirms their reputation as one of the most adventurous jazz trios of the Benelux. Formed in 2009, De Beren Gieren were in-house residents at the prestigious Vooruit Arts' Centre in Ghent for four years and have received three awards at the distinguished International Jazz Hoeilaart competition which promotes young jazz musicians across Europe and the rest of the world. A Raveling (2013), the band's second album, was widely praised and resulted in De Beren Gieren's international breakthrough. The follow-up a year later, The Detour Fish, captured the band's live sound at the Ljubljana Jazz Festival in Slovenia and featured burgeoning Portuguese trumpeter and improviser, Susana Santos Silva. 2015's One Mirrors Many (SDBANU 001LP) received widespread recognition with influential jazz magazine Jazzism describing the release as the "most influential album of 2015-16". De Beren Gieren have performed across numerous jazz stages throughout Europe and have collaborated with numerous musicians including Marc Ribot, Louis Sclavis, Joachim Badenhorst, Jan Klare, and trumpeter Susana Santos Silva. Comes in a four-panel digipak.

"Suspected Hippies In Transit" is an exclusive track by The Orb. Written and produced by Alex Paterson and Thomas Fehlmann at Lab, Berlin 2017. "Adeto / What Is Paris?" is an exclusive mixed track, the original track from Fenin and Bus (with Dabrye) mixed together by Alex Paterson, at Lab, Berlin 2017. This 12" will be released in tandem with The Orb Chronicles (20 Years of Shitkatapult) (STRIKE 166CD) to celebrate the Berlin label that debuted artists like T.Raumschmiere, Apparat, or Phon.O.

The debut album of Yeah But No -- the project for the duo of producer Douglas Greed and singer Fabian Kuss, who previously released on labels like BPitch Control, Noir, and Cocoon Records -- celebrates the energy of every change and the beauty of every new start. It also maps the melancholy hidden in synths and drum machines. The project of Berlin based musicians Douglas Greed and Fabian Kuss -- that has grown into a band -- tracks down the heaviness of breach and ending in rainy electronica. It celebrates the energy within every change and the beauty of a new start. With smart compositions the duo airily maps the melancholy hidden in synths and drum machines. Douglas Greed made a name for himself in the techno scene and recently released an album together with Mooryc with their mutual project Eating Snow. Meanwhile, Kuss gained experiences in all imaginable styles of music. The two met in 2013 when Greed was looking for a singer for his tracks. After one hundred gigs, as well as the release of a dozen of tracks together, both decided to let the project grow into a band and start writing tracks together.

After a year of activity with three beautiful single reissues, Sol Discos presents its first album with the compilation Message In Our Music, selected by Waxist. Focusing on modern-soul genre, the selection ranges from 1977 to 1983 and gathers a nice selection of independent and private press records, all officially licensed. From David Nathan's downtempo previously unreleased version of "Ain't Nothing Like The Love", to the beautiful gospel dancer from Glen Missick & Lovespiration, "Message In Our Music", the album aims to provide listeners with a glimpse of the wide spectrum of productions that exist in modern-soul. Some of these beauties are officially reissued on vinyl for the very first time here, including some highly sought-after records such as "Deep Inside Of You" by Harden Brothers, "My Dream" by Harvell Guiton, or "Love With Me" by Don Scott. Also features Horizon, Billy Cole (aka Winston Francis),Sass, and Jack Sass Band. Includes liner notes for each song, and exclusive pictures provided by the involved artists and producers. Fully remastered at The Carvery, UK.

Soul7 is back with bang with a double-sided treasure from the early '80s by a little known Detroit band called Pure Pleasure. It's hard to decide which of the two sides is better, the outstanding, uplifting "By My Side" is considered "the track" -- but don't dismiss the flip! Co-written and sung by Barbara Love, "By My Side" is a super charged mid-tempo vocal dancefloor fave that's a blinder from the start with driven, tight horn and bass stabs swinging into a stunning two step soul track with the perfect beat.

Anja Schneider releases her first album in nine years on new label Sous Music. Sometimes you need to step away from everything that's familiar to really grow and challenge yourself as an artist. The Berlin-based artist has never felt more out of her comfort zone. Or inspired. The musical manifestation of this bold new era is SoMe, a nine-track calling card that not only represents Schneider's own creative apex and its freedom. As is the case with all Schneider's productions, this is a deeply personal work. But what makes it shine above everything else that has come before it, is how expressive and free it is, while remaining entirely authentic to her own musical history, passions, and personal story. The project begun in November 2016, in Anja's basement to be precise. Getting back to her music digging roots she whiled away the hours among the dusty boxes of her vinyl collection -- re-immersing herself in old jungle and D&B records, classic house, and the Berlin-bred techno of the '90s that she fell in love with when she first moved to the German capital in 1993. Alongside her co-producer and partner Jan-Eric Scholz, she set studio dates turned into lost afternoons, then weekends. If Anja wasn't touring or spending time with her son, she was engrossed in free-flowing productions sessions, channeling musical impressions past and present, and recent trips to South Africa that cemented a love for ragga and crafting outstanding vocal works. SoMe begins with the dusty panoramic tones of "The Sun". Other highlights include the catchy ragga tones of "All I See", inspired by her trip to Cape Town for CTEMF in 2015 and exemplifies Schneider's knack for creating music that feels at once fresh, yet familiar. Elsewhere she flexes her song-crafting muscle linking up with the Stereo MCs after a chance meeting with vocalist Rob Birch. A big fan of the group's Connected album (1992), Schneider floated the idea of a vocal contribution to her fledgling album project and the irresistible earworm "Sanctuary" was born. An artist with tried and true roots in techno, SoMe of course reflects an Anja Schneider DJ experience, with cuts such as "Got Me With A Bang" and even "Night Out", that mines the spirit of her own debut album Beyond The Valley (2008). And rounding out the album on a particularly personal note comes the ambient track "Shadows".

Steppas Records presents Osaka Steppas Vol. 2, the second in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Dub Kazman and Roots Masashi. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems.

Following two acclaimed first editions, Stix Records presents the third volume of its Disco Reggae compilation series. Like the previous one, the nine-track compilation is made both from productions of home labels, now sold-out as vinyl, and from brand new, exclusive music, by the likes of Taggy Matcher, Mato, and newcomer Rosemary Martins, taking over classics titles from Donna Summer, Stephen Encinas, Roberta Flack, Herbie Hancock, Steve Parks, or Inner City. The perfect summer soundtrack. Also features: 7 Samurai?, The Dynamics, and Lucas Arruda.

Juris Boiko (1954-2002) and Hardijs Ledi?s (1955-2004) were the core members of the NSRD, best known as a Latvian avant-garde, postmodern, experimental and underground music group active in 1980s. Their activities were widely multidisciplinary and they cannot be considered as purely musicians since none of them had a professional musical education. Their creativity was manifested through variety of media -- music, performance and action art, visual arts, poetry, samizdat, the introduction video art in Latvia etc. NSRD also made a significant contribution to the explanation of the theoretical aspects of art in the interpretation of the postmodernist movement, and developed the independent concept of "Approximate Art". At the end of the '80s, NSRD got connected and performed with several artists and musicians living in West Germany, including Indulis Bilz?ns, Micky Remann, Maximilian Lenz, aka Westbam, and others. Includes download code.

Finnish legends and everything-but-grey eminences of electronic music, Jimi Tenor and Freestyle Man revive their dormant partnership on this four track EP for Studio Barnhus, jam-packed with classic drum machine funk, congenial synth lines, and Jimi's unmistakable lead vocals and flute-playing. The Sleepover EP is fueled by the two maestros' mutual love for New Jersey house music and pyjama parties, as well as musical wisdom gained from numerous collaborations in the past, ranging back to some fabled mid-90s Sähkö releases. Artwork by Robin Ekemark.

2017 repress. The first record released on Max Richter's new label StudioRichter is a 12" vinyl edition of On The Nature Of Daylight, which is the title track from the soundtrack to Denis Villeneuve's movie Arrival (2016). "On The Nature Of Daylight" was originally featured on Max's landmark album The Blue Notebooks (2004) - its strong anti-war sentiment gels perfectly with the pro-unity theme in Arrival. On The Nature Of Daylight includes both versions of the music; the original quintet recording, and the later recording for full string orchestra. 180 gram vinyl.

Belgium based Fabrice Lig is nothing else than a phenomenon of techno music. More than a year has gone by since Purple Raw Vol. 2 was dropped on Systematic (SYST 114EP, 2016). The wait is finally over, and Fabrice returns with Pure Raw Vol. 3 which has no other intention than to make you dance. This four-tracker starts with a driving edit of "Gravitational Voyage" by Joris Voorn and proceeds its journey with three tunes full of raw percussions, bumbling sounds, and unpredictable arpeggio synth lines.

LP version. 180 gram vinyl. Includes CD. Tapete present Tony, Caro, and John's All On The First Day, originally released in 1972. Although they've achieved much of it in recent years, it was never for appreciation that Tony, Caro, and John came to record All On The First Day. The group instead formed serendipitously in the early 1970s through musical appreciation, DIY sensibilities, and an "all goes" mentality. It was here within the walls of the band that they were able to provide homecoming for a group of likeminded friends and cohorts during a rapidly changing cultural climate in London. The first pressing of All On The First Day was a small run of 100 spray-painted copies that one could only find in the small theaters and London flats in which the band performed. The album was self-produced, with group member John behind the board as the technical director to their eclectic and experimental songwriting approach. Tony & Caro's voices are the leading hand through the group's nomadic and shifting song-scape; singing tales of love, youth, and political confusion at a time when the very concept of personal identity was expanding beyond anything it had ever been in prior. While contemporaries such as The Incredible String Band, The Pentangle, and Pearls Before Swine were garnering international recognition and categorization at that time; Tony, Caro, and John evaded being confined to any particular set of expectations or aesthetics. Their songs move fluidly between ballads, protest songs, experimental story-tellings, and free-flowing group jams. Once approached by a label to release their music on a larger scale, they refused due to the labels suggestions for them to move in a specific direction with their music. The ethics and approach of the group pre-dates the DIY and punk ethos of the late '70s, '80s, and '90s, yet hits a similar nerve. It's not surprising that many years after All On The First Day made its journey into the underground a group such as Beach House, which was also formed within a DIY community ethos, covered "Snowdon Song", renaming it "Lovelier Girl" and placing it as a centerpiece on their self-titled album (2006). All On The First Day is a cult-classic; a flagship for any group who want to come together to create a sonic habitat.

Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. "Praying Mantis" captures all the charm of a fine Japanese watercolor painting by means of some spectacular midi-harp programming -- a low-slung grime-y masterpiece, both soothing and energizing. "Koto Riddim'" brings Japanese influences to the forefront. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.

Mamiffer is Faith Coloccia and Aaron Turner. Mamiffer on the release: "The majority the sounds on this tape were culled from cassettes we used in live performances and recordings. Many were field recordings from various sources, found tapes from thrift stores, some were samples/textures we made as backgrounds/backing tracks for specific live songs. A few pieces were also in finished Mamiffer studio recordings but ended up being somewhat buried in the final mixes -- they were and are elements we felt strongly about and have thus given them a proper chance to shine herein. It was put together semi-chronologically starting with some of the earliest Mamiffer materials going back to 2008 or so. It was all edited together with the idea of creating a listenable narrative and letting the chance audio occurrences within each piece inform the choices about how they were melded together and sequenced." Illustration by Ashley Isadore Coloccia-Turner.

Conceived and recorded quickly over only a few brief, yet intense studio sessions utilizing an array of new and vintage hardware, the debut from Psychic Health captures the duo's sharp, intuitive minimalism and sense of unpolished energy. The collaboration between Los Angeles residents Devon Stevens and Gabriel Mousey, is informed by their time in Berlin and Melbourne where they found inspiration within many mutations of uncompromising sound system music. Creeping soundscapes throughout their self-titled full-length are stripped-back, designed to be played loud for maximum effect. Psychic Health rewards patience by slowly unraveling rhythmic structures, careening between dubby, hypnotic techno, and barbed industrial chug -- not sounding out of place next to titles from Sandwell District, Avian, and Droid. Inviting repeated listens, the album makes an excellent companion for those seeking a brief expedition into the half-lit depths of the psyche. Psychic Health was created with: Elektron Machinedrum, Analog 4, Octatrack, Teenage Engineering OP-1, Roland Juno 106, Eurorack Modular DSI Evolver. Edition of 300.

Matti Bye has been best known as one of Sweden's most sought-after film composers, working on scores not only for contemporary, but also vintage silent movies. In 2014, he received two of the three nominations for Best Original Music Award at Sweden' Guldbaggen. He's recorded a number of solo works, too, not least 2010's Drömt and 2013's Bethanien. This Forgotten Land, produced by Joel Danell, offers a deeply atmospheric experience, steeped in nostalgia and yet thrillingly contemporary. Opener "Melt" indicates what's to come, with its muffled tones and subdued sense of foreboding. At other times -- such on "Underneath The Silence" -- one can hear the influence of Debussy. On "Absence", the creaking of Bye's keyboard pedals is intrinsic to the atmosphere of his rippling melody, while "Into The Haze" and "Cascading Sun" and "Empty Streets / Piano Street" reveal his affection for circus music and other archaic styles. Incongruous sounds, audible in the background, are essential to his compositions. When he was 20, Stockholm's celebrated Cinematheque contacted Bye about playing music for silent films. "Silent film music was like a blank spot on the music map, but I recognized the freedom I'd have as a musician, and the force of the poetry in these forgotten images." As his reputation spread, Bye recognized that he'd stumbled on a singularly romantic style. "I started out as a piano improviser," he says, "and suddenly I realized that I'm a composer." This Forgotten Land looks set to expand Bye's reach. Peculiarly otherworldly, serenely haunting, and utterly unforgettable, its melodies linger long after its conclusion, their atmosphere a magical mist. Out of time, but just in time, it confirms Matti Bye as a vital composer of visionary, cinematic scope.

New York City DJ Joe Claussell joins the Mushroom House series! He remixes an obscure afro funk song by German Afro-kraut band Karl Hector & The Malcouns and Nicolas Tounga, singer from Burkina Faso. Claussell's remix is an amazing 11-minute Afro-techno jam. On "Night Masquerade" by Vito & Druzzi, they go tribal. Somewhere between Steve Reich inspired gamelan patterns, smooth flowing over a 4/4 beat topped by a nasty, '70s funk synth solo. The third track, by Kapote, is "Besamo Fly", a 110 bpm slow house jam.

Rhode & Brown are back on Toy Tonics. From DIY-disco to dreamy house, the tracks have that special joyful touch. This time their production was a little bit different: While spending holidays on the island of Zanzibar, they produced the raw versions of this EP. They set-up their studio at a beach cabanne. With a monkey becoming their muse -- the monkey came over every day to listen to their sounds. When back in Europe the Munich boys still were in a "Balearic mood", so they went to a house deep in the south of France to finish the music.

The first release by Transversales, a French label based in Paris founded by Sebastien Rosat and Jonathan Fitoussi, is the original soundtrack of the film Rock, composed in 1982 by Bernard Parmegiani (1927-2013). Parmegiani was a major figure of electro acoustic music and member of the historic GRM (Groupe de Recherches Musicales) where he composed an important work of concert, among which is the masterpiece: De Natura Sonorum (REGRM 009LP). The work of Parmegiani, a virtuoso of the magnetic tape, is widely known to the public even without their knowledge, through the famous title he composed for the TV program Stade 2, for the French radio France Inter, and also through the jingle adopted by Roissy-Charles de Gaulle Airport in Paris (1971-2005). Bernard Parmegiani produced a large number of jingles, soundtracks, and indicatives, but Rock stands apart in his repertoire. He recorded it without any outside constraints in his own studio. On listening to Rock, one is reminded of John Carpenter or François de Roubaix: a work which mixes the sounds of the TR-808 drum-machine, Synthi AKS, Farfisa organ, and Clavinet. Remastered from the original master tapes; Includes exclusive liner notes. Transversales specialize in the reissues of long lost tapes, rare original soundtracks, and library. Jonathan Fitoussi is a French composer residing in Paris. He works on minimalist and contemporary musical forms. He's also audio restoration engineer at INA and INA GRM. Sebastien Rosat is a French music supervisor working for films, TV, and advertising. He's also a member of French electronic duo Sommet.

The second release by Transversales, a French label based in Paris founded by Sebastien Rosat and Jonathan Fitoussi, is the first ever LP reissue of Les Choses De La Vie, originally released in 1970, the timeless masterpiece by the most versatile and talented French film composer, Philippe Sarde. Les Choses De La Vie, an outstanding score which offers both the wonderful "Chanson D'hélène" and most of the musical features which appeared later in Philippe Sarde's musical career: nostalgia, melancholy, experiment, and sound discord. Les Choses De La Vie is the film which confirms Sautet as a genuine author and Philippe Sarde as a rising composer. This is also the start of a long partnership that spanned twenty-five years and eleven films. This reissue includes the previously unreleased versions of "La Chanson D'hélène" performed by Romy Schneider and Michel Piccoli in Italian and German. Also includes Stéphane Belmondo's version of "La Chanson D'hélène". Remastered from the original master tapes; Includes exclusive liner notes. Transversales specialize in the reissues of long lost tapes, rare original soundtracks, and library. Jonathan Fitoussi is a French composer residing in Paris. He works on minimalist and contemporary musical forms. He's also audio restoration engineer at INA and INA GRM. Sebastien Rosat is a French music supervisor working for films, TV, and advertising. He's also a member of French electronic duo Sommet.

BNJMN presents Body Reflections Pt.2, the second step in his new, subdued, and intricate sonic direction. The highly textured ambient dance music that characterized the first chapter released earlier in 2017 (TRESOR 290EP), seamlessly continues onto this new reference. Each track on the EP introduces symmetry and rhythm in the form of organic percussion. Whether lethargic and ethereal, blanketed with discordant melodies and arcing synth lines, or more dance-oriented -- with sophisticated interplays of percussive elements looping over soft harmonies. Body Reflections Pt.2 is deeply illustrative of BNJMN's affinity for creating nuanced and delicately balanced layers.

Woke is Tiga's third release so far in 2017, and was recorded at Montreal's Lost Star Studios before he returned to Ibiza for the summer. He started 2017 with Eye Luv U (TURBO 188EP), his first new material since 2016's Blondes Have More Fun, and the track that marked his return to Turbo Recordings. April saw Tiga vs Audion's Nightclub EP (TURBO 190EP), the third collaborative release from Tiga and Matthew Dear, and the follow-up to their mega-hit "Let's Go Dancing" and the micro-hit "Fever". Woke features remixes by Vakkuum, Eduardo De La Calle, and Justin Cudmore.

Darlene Shrugg is unabashedly a rock n' roll band. Formed in Toronto in 2013, it's something of a local enigma; Darlene more or less abstains from an internet presence, and its public performances are sporadic at best. Now, over two, reticent years, Darlene has completed an LP, coaxing out an imaginatively produced debut album of brash theatricality and uninhibited rock and roll. Darlene represents collaborative convergence. The band was conceived initially by Maximilian Turnbull (formerly Slim Twig) and Simone TB, who played together for ten years as art-punk duo, Tropics. Seemingly having exhausted the limits of their angular, hermetic approach, they felt it time to broaden horizons. They invited Meg Remy, creative force behind the critically lauded U.S. Girls, to compose lyrics and vocal melodies. It was quickly apparent that Remy should also perform in the band, at which point both Carlyn Bezic and Amanda Crist of electro-pop duo Ice Cream, joined. Turnbull and TB generated instrumentals for Remy to write to. Furnished with lyrics and melodies, the songs were then arranged by the entire group. Young Guv, of Fucked Up fame, cajoled the band into a studio with engineer-producer Steve Chahley to finally record some of the exciting new tunes. A certain alchemy has helped to establish the unique force found on the debut album: four women, one man; four Canadians and an American; musical collaborations stretching back to nascent high school years; punk exuberance meeting studio finesse. Darlene exudes an easy confidence in combining the raw, blunt power of the band's writing and arrangements with Turnbull and Chahley's layered and, at times, elaborate production. The concise blast of their self-titled debut seeks to compress, absorb, and invert the energy of classic rock. They profane, as much as pay tribute to a lineage of foundational bands, arguably stemming from Black Sabbath and Alice Cooper through Thin Lizzy, and on through the boy's club fantasy of early 2000's, "raw" rock revival bands, like The Strokes or The Hives. Gauche rock moves are ransacked and transformed with the glee of an amateur cast production of the Rocky Horror Picture Show. With their glammed-up, high intensity live show featuring all members contributing vocals (save drummer TB), Darlene Shrugg seems not to rebut so much as disregard the notion of rock's diminished cultural capital.

LP version. 180 gram vinyl; Edition of 500. Darlene Shrugg is unabashedly a rock n' roll band. Formed in Toronto in 2013, it's something of a local enigma; Darlene more or less abstains from an internet presence, and its public performances are sporadic at best. Now, over two, reticent years, Darlene has completed an LP, coaxing out an imaginatively produced debut album of brash theatricality and uninhibited rock and roll. Darlene represents collaborative convergence. The band was conceived initially by Maximilian Turnbull (formerly Slim Twig) and Simone TB, who played together for ten years as art-punk duo, Tropics. Seemingly having exhausted the limits of their angular, hermetic approach, they felt it time to broaden horizons. They invited Meg Remy, creative force behind the critically lauded U.S. Girls, to compose lyrics and vocal melodies. It was quickly apparent that Remy should also perform in the band, at which point both Carlyn Bezic and Amanda Crist of electro-pop duo Ice Cream, joined. Turnbull and TB generated instrumentals for Remy to write to. Furnished with lyrics and melodies, the songs were then arranged by the entire group. Young Guv, of Fucked Up fame, cajoled the band into a studio with engineer-producer Steve Chahley to finally record some of the exciting new tunes. A certain alchemy has helped to establish the unique force found on the debut album: four women, one man; four Canadians and an American; musical collaborations stretching back to nascent high school years; punk exuberance meeting studio finesse. Darlene exudes an easy confidence in combining the raw, blunt power of the band's writing and arrangements with Turnbull and Chahley's layered and, at times, elaborate production. The concise blast of their self-titled debut seeks to compress, absorb, and invert the energy of classic rock. They profane, as much as pay tribute to a lineage of foundational bands, arguably stemming from Black Sabbath and Alice Cooper through Thin Lizzy, and on through the boy's club fantasy of early 2000's, "raw" rock revival bands, like The Strokes or The Hives. Gauche rock moves are ransacked and transformed with the glee of an amateur cast production of the Rocky Horror Picture Show. With their glammed-up, high intensity live show featuring all members contributing vocals (save drummer TB), Darlene Shrugg seems not to rebut so much as disregard the notion of rock's diminished cultural capital.

Enzo Pietropaoli presents his new album The Princess. A crescendo of songs that testify to the wide range of musical passions throughout a lifetime: from John Lennon to Bob Dylan, Cole Porter to Peter Gabriel, from Neil Young to Pearl Jam, topped off with the Beach Boys -- all brought together and punctuated by Pietropaoli's original compositions. "The Princess" is among these -- a metaphor for a dream pursued with determination and fully realized. Pietropaoli's deeply-felt love for the piano-trio is made evident by the creation of a solemn yet ethereal atmosphere, oscillating between ancient and young in a place beyond space and time, underscored by the choice of the song's title. Enzo Pietropaoli, at the double bass, is flanked by two extraordinary musicians: Julian Oliver Mazzariello on the piano and Alessandro Paternesi on drums, both of which contribute to an atmosphere which is simultaneously penetrating, delicate, and lush. Personnel: Enzo Pietropaoli - double bass; Julian Oliver Mazzariello - piano; Alessandro Paternesi - drums.

LP version. Limited edition of 1000. Michael Head (The Strands, Shack, The Pale Fountains) continues his Michael Head & The Red Elastic Band project with the beautiful and evocative Adiós Señor Pussycat, the first album of new material from Head since 2006. Recorded in his Head's hometown of Liverpool from March 2016 through June 2017, and the culmination of four years of hard work, Adiós Señor Pussycat is equal to Head's finest moments and further cements his reputation as one of his generation's greatest songwriters. Since beginning a self-imposed hiatus from music in 2008, Michael Head has been working with a fluid concept of an ever-rotating band to provide a flexible platform for the range of his live and recorded works. He unveiled Michael Head & The Red Elastic Band in 2013 with the Artorius Revisited EP, and followed this in 2015 with the Velvets In The Dark/Koala Bears 7". Fate, bad luck, and circumstance have often conspired to deny Head his rightful dues. A soulful and poetic genius, he has been loved and lauded by fellow artists and critics alike, after starting out in the early 1980s with The Pale Fountains, with whom he recorded a brace of acclaimed albums (Pacific Street (1984) and ...From Across The Kitchen Table (1985)). He subsequently formed Shack with his brother John and went on to record five albums over almost 20 years, including the much-loved and acclaimed Waterpistol (1995) and H.M.S. Fable (1999) (for which the NME hailed Head as "our greatest songwriter"), while 1997 saw the release of what is widely regarded as his classic work, The Magical World of The Strands (MEGAUK 024CD/LP). Adiós Señor Pussycat, produced by Steve Powell and Michael Head, features the following musicians: Michael Head, vocals and acoustic guitar; Steve Powell, electric and acoustic guitars; Phil Murphy, drums; Tom Powell, bass guitar; Nina, piano; Dan Rogers, electric guitar; Rod Skipp, cello; Dewi Tudor Jones, violin; Helen Tonge, viola; Martin Smith, trumpet; Andy Diagram, trumpet; Simon James, saxophone; Steve Powell, Joanne Head, Phil Murphy, and Mary McCombs, backing vocals; and Michael Head, Phil Murphy, and Karina Townsend, percussion.

The newest 12" on Voodoo Down Records marks the debut appearance of longtime friend of the label Jordan Lieb, aka Black Light Smoke. Jordan played an instrumental part in the NYC label Scissor & Thread. The Depression Sleeping EP is a collection of tracks from his archives from the past decade that have been updated and remixed. The theme of the record is his struggle with sleep and insomnia. Per the artist: "Releasing these songs form my past reflects my effort to embrace myself, the good and the bad, and to channel my personal battles into a creative process."

Tom Trago has decided to pay tribute to Yamaha's DX7 synthesizer by using it as inspiration for Serene Waters. Five sparkling, spacey and melodious tracks, from the delicate and rush-inducing melodies of dreamy, deep electro opener "Harvest" and the two contrasting mixes of "Opulent"; variations on a throbbing, futurist techno theme rich in glacial melody lines, bustling synth-bass, and spacey chords. "XYZ" is a crunchier and snappier electro outing and "Rain Room", nestled in the center of the EP, sees Trago manipulate his machines to get a far more psychedelic sound.

It seems as if 15 years have quickly flown by since Watergate first opened their doors at the base of the famous Oberbaumbrücke joining Berlin's Kreuzberg and Friedrichshain districts. With countless long nights into majestic mornings and open airs in Berlin to showcases spanning the globe, Watergate has grown to include a booking agency and a record label pushing the sounds of their mainstay artists and some of the most revered acts in the scene. To celebrate their journey they've put together a special anniversary release of 25 new, exclusive, and formerly unreleased tracks with their traditional Watergate artwork, all wrapped up in a sleek minimalistic package entitled Watergate XV. Encompassing music from club residents like Matthias Meyer, Jimi Jules, Marco Resmann, La Fleur, Tiefschwarz, Floyd Lavine, Adana Twins, Sebo K, Hyenah, and Cinthie, along with new comers Gorje Hewek & Izhevski, Gumz, and Ryan Davis, to friends and cohorts who have close ties to the club such as Henrik Schwarz, Ellen Allien, Alex Niggemann, Catz N' Dogz, Osunlade, Solomun, Rodriguez Jr., Oliver Koletzki, Anja Schneider, Mathias Kaden, and Kollektiv Turmstrasse, Watergate XV comprises of a plethora of sounds you have come to anticipate from Watergate. From deep and euphoric cuts to lush organics tracks to heavier, peak-time compositions, this compilation finds a moment that encapsulates every aspect of the sounds of Watergate. This body of music perfectly captures Watergate's essence, whether it's under their famous LEDs, on the waterfloor watching the sun rise or at any of their showcases and open airs the world over. All tracks are new, unreleased and exclusively produced for Watergate XV. 2CD version includes tracks by: Lee Jones, Butch, Steve Bug.

5x12" box set version. A limited 15 year anniversary collector's box set. Includes: 5x12"; two CDs; the book Sound Travels by Linus Deckesser; illustration by Frank Höhne; two tickets for Watergate club; high quality linen packaging. Limited edition of 1000 (numbered). It seems as if 15 years have quickly flown by since Watergate first opened their doors at the base of the famous Oberbaumbrücke joining Berlin's Kreuzberg and Friedrichshain districts. With countless long nights into majestic mornings and open airs in Berlin to showcases spanning the globe, Watergate has grown to include a booking agency and a record label pushing the sounds of their mainstay artists and some of the most revered acts in the scene. To celebrate their journey they've put together a special anniversary release of 25 new, exclusive, and formerly unreleased tracks with their traditional Watergate artwork, all wrapped up in a sleek minimalistic package entitled Watergate XV. Encompassing music from club residents like Matthias Meyer, Jimi Jules, Marco Resmann, La Fleur, Tiefschwarz, Floyd Lavine, Adana Twins, Sebo K, Hyenah, and Cinthie, along with new comers Gorje Hewek & Izhevski, Gumz, and Ryan Davis, to friends and cohorts who have close ties to the club such as Henrik Schwarz, Ellen Allien, Alex Niggemann, Catz N' Dogz, Osunlade, Solomun, Rodriguez Jr., Oliver Koletzki, Anja Schneider, Mathias Kaden, and Kollektiv Turmstrasse, Watergate XV comprises of a plethora of sounds you have come to anticipate from Watergate. From deep and euphoric cuts to lush organics tracks to heavier, peak-time compositions, this compilation finds a moment that encapsulates every aspect of the sounds of Watergate. This body of music perfectly captures Watergate's essence, whether it's under their famous LEDs, on the waterfloor watching the sun rise or at any of their showcases and open airs the world over. All tracks are new, unreleased and exclusively produced for Watergate XV.

When We Play House boss Red D heard "Toriton" being played by Ken Ishii during a WPH radio takeover on Belgium's Studio Brussel radio station -- not abiding to any trends, just devastatingly beautiful house music. Some license negotiations and months later, Satoshi Fumi agreed and made "Lalalalaland", a brand new track to go along with "Toriton" for this EP. "Toriton" has that unmistakable Detroit feel that takes you from melancholy to euphoria and back, while "Lalalalaland" has been described as "Japanese sunset trance" or "end of the night eyes closed hands in the air stuff."

LP version. Cut at Emil Berliner Studios; Housed in a kraft sleeve similar to the original promo-only release. WRWTFWW Records present the release of Jun Fukamachi's highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda's Nicole clothing brand. Never officially available before, Nicole was only distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand's Spring and Summer collection. Fukamachi's moody magnum opus has become a sort of holy grail for fans of Japanese ambient, jazz, and synth music alike --and rightly so. Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka, aka The Soul Searcher: "If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun's music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen." Made in cooperation of the artist's estate; Includes new liner notes by Masaharu Yoshioka.

new releases are also viewable at http://www.forcedexposure.com/new/newindx.html